AFEA NEWS: David Cronenberd adaptator<\/p>\n
Call for papers
\nPresentation
\nTranscr(\u00e9)ation is a specialty journal dedicated to intermediality and the dialogues between texts and films, without prioritizing either. This term has been borrowed from translation studies in order to shed some light on the benefits of such a dialogue between the media. We welcome any theoretical or analytical works, interviews, and thematic dossiers on the questions of intermediality, transposition between media, dialogue between and through the arts, or any other foray into related subjects.
\nFor our fourth dossier, we are calling for papers in either English or French concerning Canadian director David Cronenberg\u2019s adaptations.
\nLanguages
\nEnglish or French<\/p>\n
Call for papers \u2013 \u201cDavid Cronenberg, adaptator\u201d (Winter 2024)
\nAs soon as 1983, Toronto director David Cronenberg abandons original screenplays and turns to the practice of adaptation with The Dead Zone (1983), adapted from Stephen King\u2019s eponymous horror novel (1979). An avalanche of adaptations of all kinds then follows. Cronenberg indeed proves to be as inspired by short stories (The Fly (1986) is adapted from the fantastic short story by George Langelaan (1957)), as by novels \u2014 as evidenced by the many examples, over three decades, including less studied features such as Spider (2002) or Cosmopolis (2012), respectively adapted from the eponymous novels by Patrick McGrath (1990) and Don DeLillo (2003) \u2014, or by plays (M. Butterfly (1993) adapted from David H. Hwang\u2019s 1988 drama and A Dangerous Method (2011) from Christopher Hampton\u2019s \u201cThe talking cure\u201d (2002)), not to mention his interest in graphic novels (as evidenced by A History of Violence (2005), adapted from John Wagner\u2019s and Vince Locke\u2019s work (1997)).
\nThe aesthetics of horror as well as the themes informing his filmography raise Cronenberg to the status of cult director, incessantly recalling his penchant for transgression, his obsession with horror and violence. This observation is also true as regards his adaptations although the choices he made are, for this corpus, mainly induced by the original texts. Let us only think about Dead Ringers (1988), adapted from the novel Twins by Bari Wood and Jack Geasland (1971), Naked Lunch (1991), drawn from William S. Burroughs\u2019 seminal novel (1959), and Crash (1996), based on John G. Ballard\u2019s eponymous novel (1973)\u2014the source texts selected are inevitably in symbiosis with the director\u2019s fascination for transgressing the limits of what is acceptable.
\nThe themes of monstrosity and disease, metamorphosis or double, addictions of multiple kinds and the art of violence run through the corpus of Cronenberg\u2019s adaptations. While some have certainly been studied by critics, this has not necessarily been done in connection with the texts that inspired the director. We therefore propose this dossier on the adaptations of David Cronenberg in order to continue the debate started on the director, his favorite themes and the aesthetics of his films. Studies on one of his adaptations, on several films, or on his entire adapted filmography are welcome, as well as unpublished interviews with the director, screenwriters or authors of source texts (or novelizations, when the film was later adapted into a novel as is the case with Maps to the Stars (Bruce Wagner, 2014)). We are also interested in original articles focusing on similarities \u2013 thematic and stylistic \u2013 between two or more of Cronenberg\u2019s films (Videodrome (1983) and eXistenZ (1999), to give one example).<\/p>\n
Please find below a proposed blueprint for reflection:
\n\u2013\tCronenberg\u2019s aesthetics and relationship to source texts
\n\u2013\tCronenberg\u2019s discourse on his relationship to adaptation
\n\u2013\tLiterary genre and adaptations
\n\u2013\tDiachronic approach to Cronenberg adaptations
\n\u2013\tTransgression, violence, horror, etc. between literature and cinema
\nTimeline
\n\u2013\tDeadline for submitting your proposal (including title, 250-300 word summary, address, affiliation and author\u2019s biobibliography (approx. 150 words)): August 15th, 2023, to: transcreation.journal@gmail.com (All submissions will be evaluated and you will receive an answer before the end of August)
\n\u2013\tDeadline for submitting accepted articles (6,000 \u2013 8,000 words) following the journal\u2019s guidelines: November 30th, 2023 (peer-reviewing process could last until the end of January)
\n\u2013\tPublication of the volume planned for March 2024<\/p>\n
Films
\nCronenberg, David, Videodrome, 1983, Canada : Universal Pictures.
\n\u2014, The Dead Zone, 1983, \u00c9tats-Unis : Paramount Pictures.
\n\u2014, The Fly, 1986, \u00c9tats-Unis : Brooksfilms ; SLM Production Group.
\n\u2014, Dead Ringers, 1988, Canada ; \u00c9tats-Unis : 20th Century Fox.
\n\u2014, Naked Lunch, 1991, Canada : 20th Century Fox.
\n\u2014, M. Butterfly, 1993, \u00c9tats-Unis : Warner Bros.
\n\u2014, Crash, 1996, Canada : Alliance Communications ; Recorded Picture Company.
\n\u2014, Existenz, 1999, Canada : Miramax Production.
\n\u2014, Spider, 2002, Canada : Sony Pictures Classics.
\n\u2014, History of Violence, 2005, \u00c9tats-Unis : New Line Cinema.
\n\u2014, A Dangerous Method, 2011.
\n\u2014, Cosmopolis, 2012, Canada : eOne Films.
\n\u2014, Maps to the stars, 2014, Canada : Entertainment One ; Focus World.<\/p>\n
Works cited
\nBaetens, Jan, \u00ab Novelization, a Contaminated Genre? \u00bb, Critical Inquiry, Vol. 32, n\u00b01 Autumn 2005, pp. 43-60.
\n\u2014, Novelisation from Film to Novel, Columbus, Ohio State University Press, 2018
\nBeard, William, The Artist as Monster \u2013 The Cinema of David Cronenberg, University of Toronto Press, 2001.
\n\u2014, \u00ab Insect Poetics \u2013 Cronenberg\u2019s Naked Lunch \u00bb, Canadian Review of Comparative Literature \/ Revue Canadienne de Litt\u00e9rature Compar\u00e9e, Septembre 1996, pp. 823-852.
\nBoozer, Jack, Authorship in Film Adaptation, University of Texas Press, 2008.
\nCa\u00f1izares, Joaquin, \u00ab The strange case of Dr Mantle and Dr Mantle: David Cronenberg\u2019s Dead Ringers \u00bb, The International Journal of Psycholoanalysis, Vol. 91, 2010, pp. 203\u2013218.
\nCooper, Rich, \u00ab The Divine Exhaustion of Myth and Parable in Cronenberg\u2019s A History of Violence \u00bb, Journal of Religion and Film, University of Nebraska, Vol. 14, n\u00b02, 2010.
\nDemangeot, Fabien, \u00ab L\u2019imaginaire de l\u2019inceste dans l\u2019\u0153uvre de David Cronenberg \u00bb, Philologia, Targu-Mures, Vol. 20, 2016, pp. 167-179.
\nDunlap, Aron ; Delpech-Ramey, Joshua, \u00ab Grotesque Normals \u2013 Cronemberg\u2019s Recent Men and Women \u00bb, Discourse, Vol. 32, n\u00b03, Fall 2010, pp. 321-337.
\nFleishman, Avrom, Narrated Films: Storytelling in Cinema History, Baltimore\/London : Johns Hopkins University Press, 1992.
\nGaudreault, Andr\u00e9, Du Litt\u00e9raire au filmique\u2014Syst\u00e8me du r\u00e9cit, Paris : M\u00e9ridiens Klincksieck, 1988.
\nGomel, Elana ; Wenninger, Stephen, \u00ab Cronenberg, Greenaway and the Ideologies of Twinship \u00bb, Body & Society, Vol. 9, n\u00b03, 2003, pp. 19\u201335.
\nGrammatikopoulos, Damianos, \u00ab Insects and the Kafkaesque: Insectuous Re-Writings in Visual and Audio-Visual Media \u00bb, Humanities, Vol. 74, n\u00b06, 2017, pp. 2-19.
\nHandling, Piers ; V\u00e9ronneau, Pierre (eds.), L\u2019Horreur int\u00e9rieure : Les films de David Cronenberg, 7ART, Les Editions du Cerf, Paris, 1990.
\nHerman, David, \u201cToward a Transmedial Narratology\u201d, Narrative Across Media \u2013 The Languages of Storytelling, University of Nebraska Press, Lincoln&London, 2004, pp. 47-75.
\nHolland, Timothy, \u00ab Cronenberg\u2019s Anesthetics (Virtual Flesh) \u00bb, New Review of Film and Television Studies, Vol. 15, n\u00b02, 2017, pp. 141-151.
\nHutcheon, Linda, A Theory of Adaptation, London\/New York : Routledge, 2006.
\nJost, Fran\u00e7ois, L\u2019\u0152il-cam\u00e9ra : Entre film et roman, Presses Universitaires de Lyon, 1987.
\nKellner, Douglas, \u00ab David Cronenberg: Panic Horror and the Postmodern Body \u00bb, Canadian Journal of Political and Social Theory \/ Revue canadienne de th\u00e9orie politique et sociale, Vol. 13, n\u00b03, 1989, pp. 89-101.
\nLauretis, Teresa de, \u00ab Popular Culture, Public and Private Fantasies: Femininity and Fetishism in David Cronenberg’s M. Butterfly \u00bb, Signs: Journal of Women in Culture and Society, 1999, Vol. 24, n\u00b02, pp. 303-334.
\nLeach, Stephen, \u00ab Evaluating the Representation of Violence in David Cronenberg\u2019s A History of Violence \u00bb, Film Matters, Spring 2011, pp. 13-18.
\n\u2014, Film Adaptation and Its Discontents: From Gone with the Wind to The Passion of Christ, Baltimore: Johns Hopkins UP, 2007
\nLevin, Charles, \u00ab Sexuality as Masquerade: Reflections on David Cronenberg\u2019s M. Butterfly \u00bb, Canadian Journal of Psychoanalysis, Vol. 12, n\u00b01, Spring 2004, pp. 115-127.
\nLopez Cruz, Ronald Allan, \u00ab Mutations and Metamorphoses: Body Horror is Biological Horror \u00bb, Journal of Popular Film and Television, Vol. 40, n\u00b04, 2012, pp. 160-168.
\nMacCormack, Patricia, \u00ab Phantasmatic Fissures: Spider \u00bb, Senses of Cinema, Vol. 27, 2003.
\nMars-Jones, Adam, \u00ab The Films of David Cronenberg, from \u2018Body Horror\u2019 Excess to Immaculate Neutrality Mind and Matter \u00bb, ARTS, TLS, 3 Octobre 2014, pp. 17-18.
\nMcFarlane, Brian, Novels to Films\u2014An Introduction to the Theory of Adaptation, Oxford : Clarendon Press, 1996.
\nMiddeke, Martin ; Gabriele Rippl ; Hubert Zapf (eds.), Handbook of Intermediality, Vol. 1 \u2013 Literature, Image, Sound, Music, De Gruyer Ed: Berlin, 2015.
\nRiches, Simon (ed.), The Philosophy of David Cronenberg, University Press of Kentucky, Lexington, 2012.
\nRoche, David ; Isabelle Schmitt-Pitiot (eds.), Bande dessin\u00e9e et adaptation, Presses Universitaires Blaise Pascal, Clermont-Ferrand, 2018.
\nSaint-Cyr, Yves, \u00ab Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly \u00bb, Canadian Review of Comparative Literature \/ Revue Canadienne de Litt\u00e9rature Compar\u00e9e, Universit\u00e9 de Toronto, D\u00e9cembre 2011, pp. 451-462.
\nSilke, Arnold-de Simine, \u00ab The Body in the Pool: Reflections on David Cronenberg\u2019s Maps to the Stars \u00bb, Studies in Gender and Sexuality, Vol. 17, n\u00b01, 2016, pp. 73-75.
\nSklar, Jonathan ; Sabbadini, Andrea, \u00ab David Cronenberg\u2019s Spider: Between Confusion and Fragmentation \u00bb, Institute of Psychoanalysis, Blackwell Publishing, Vol. 89, 2008, pp. 427-432.
\nStam, Robert, Literature Through Film\u2014Realism, Magic, and the Art of Adaptation, Malden : Blackwell, 2005.
\n\u2014, Literature and Film\u2014A Guide to the Theory and Practice of Adaptation, Malden : Blackwell, 2005.<\/p>\n
Source: Marie Pascal <mpascal3@uwo.ca><\/p>\n","protected":false},"excerpt":{"rendered":"
AFEA NEWS: David Cronenberd adaptator Call for papers Presentation Transcr(\u00e9)ation is a specialty journal dedicated to intermediality and the dialogues […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[99],"tags":[1353,1351,1352,1355,1354,1103],"class_list":["post-3127","post","type-post","status-publish","format-standard","hentry","category-cfp","tag-body-horror","tag-david-cronenberg","tag-film-adaptation","tag-film-aesthetics","tag-transgression","tag-violence"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"AFEA NEWS: David Cronenberd adaptator Call for papers Presentation Transcr(\u00e9)ation is a specialty journal dedicated to intermediality and the dialogues […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/3127"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=3127"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/3127\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=3127"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=3127"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=3127"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}