Most of animated adaptations in Thailand come from literary works. However, the animation's inventiveness has been inhibited by its fidelity on the literary source. Although fidelity discourse cannot be ignored in adaptation since it creates a strong connection to the original, I contend that not only similarities, but also differences, are essential for the dialogue between the source text and film. This paper investigates animated adaptations from literary work. It seeks to explore how literature and animation correspond and interact between their boundaries. Jorgen Bruhn (2013)'s concept of dialogical adaptation was contextualized and used as theoretical framework for my analysis. This concept has also been put into practice through my animated film, The Wise, based on Panu Trivej's short story Nak Chalad Mue Archeep (2006). The dialogical adaptation approach is adopted to examine how my animation project reinterprets and reconstructs the source text in another medium. Contra the traditional approach of a one-directional transformative process from the literary source to the filmic result, the study conveys adaptation as an intertextual process. This article offers some observations of the development of animated adaptation from contemporary literature, with attention to independent animators who work as an adapter, as well as an author. This paper encapsulates both practice and theory and the findings are applicable to animators who engage transposing literary work into animation. The case study could also expand the area of literature to animated film adaptation.
Chanya Hetayothin, King Mongkut's Institute of Technology Ladkrabang, Thailand
Stream: Film and Literature: Artistic Correspondence
This paper is part of the MediAsia2017 Conference Proceedings (View)
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