Documents found
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3472.
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3473.
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3474.More information
Freely adapted from the novel Perfect Blue: Complete Metamorphosis (Takeuchi, 1991), Perfect Blue (Kon, 1997) is an animated film that tells the story of Mima, a young singer and J-pop idol, who leaves her group to pursue an acting career. When the novelist's decision to adapt his book into a live-action film failed, the director and screenwriter decided to modify the original story to create an animated film exploring the confusion between reality, fiction and hallucination. Far from the novel , the film is full of reflexivity. It depicts the creation of a fictional series within the first diegesis, and is distinguished by its aesthetic, where animation recreates the visual codes of live-action cinema. Visually made up of animated drawings for the spectator of Perfect Blue, the series within the film is live action for the characters and diegetic spectators. By the depiction, in this series, of an unbearable rape scene, that should be inconsequential because its fictional nature seems intensified by its drawn nature, Perfect Blue questions the porosity of boundaries between fiction and reality within cinematic images. Far from causing some detachment of the spectator of Perfect Blue, this questioning of cinema's relationship to fiction, dreams and reality strengthens its realism and the empathy it can arouse. This paper aims to examine what mechanisms are used in the adaptation process of Perfect Blue during the translation from the written words to the screen, to accentuate its realism thanks to its animated nature.
Keywords: Perfect Blue, Perfect Blue, animated adaptation, adaptation animée, film aesthetics, esthétique cinématographique, reflexivity, réflexivité
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3477.
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3478.
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3479.More information
In this study dedicated to Naked Lunch (Burroughs, 1959; Cronenberg, 1991) and A History of Violence (Wagner and Locke, 2005; Cronenberg, 2005), I articulate the notions of "image-espace" (Gaudin, 2014) and "filmic body" (Shaviro, 1994) in order to show that David Cronenberg's adaptations have a physical impact on the public's body, and are at the root of their guilt sensations - either due to anempathy (for the first example) or extreme excitement (in the second). While analyzing these "unfilmable" movies, which draw much of their abjection from the hypotexts, I would like to illustrate the impact of picturing abjection on our body but also express the filmic object's role (composed not only of what is portrayed but also how it is portrayed and what editing and sound-track brings to our experience) in elaborating an abject filmic experience. My main argument relies on the idea that the Torontonian director - both a source of abjection and hatred if one considers how scholars address him and his works - offers a new cinematic form which, through abjection, offers a path to liberating our imagination.
Keywords: abjection, abjection, adaptation, adaptation, David Cronenberg, David Cronenberg, Naked Lunch, Naked Lunch, A History of Violence, A History of Violence