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  • 1.
    Hermansson, Joakim
    Högskolan Dalarna, Institutionen för kultur och samhälle, Bildproduktion.
    Adaptations and Post-apocalyptic At-one-ment2021Inngår i: Literature/Film Quarterly, ISSN 2573-7597, Vol. 49, nr 3Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    With Atonement as an illustrative example, this article argues that the reception of adaptations is constitutionally post-apocalyptic. The literature/film adaptation text commonly encompasses a novel, the screenplay versions, and a film, but foremost the open meaning-making process of the audiences. Thus, adaptations embrace holistic and complex perspectives on life and meaning as they invite the flickering play of meanings and values that are necessary for balance and a fluid unity to appear. So, adaptations in themselves become meta-didactic excercises, beyond the division and destruction, that lead to the revelation that the unknown and incomplete are inevitable conditions in life. 

  • 2.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion.
    Adaptations of Adulthood: Towards a Model for Thematic Rhetoric in Adaptation Studies2020Inngår i: New Approaches to Contemporary Adaptation / [ed] Betty Kaklamanidou, Detroit: Wayne State University Press , 2020, s. 173-192Kapittel i bok, del av antologi (Fagfellevurdert)
  • 3.
    Hermansson, Joakim
    Göteborgs universitet.
    Adapting Adulthood: Migrating Characters and Themesfrom Novels, Screenplays, and Films2021Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [en]

    When novels are adapted for the screen, the fictional characters are inevitablytransformed in the adaptation process, and so is the thematic content. This studyconsiders the characters and the thematic content of a story as migrants who leavethe land of the novel in order to adapt to a life on the screen with transformed selfidentities.The five articles that this thesis is based on focus on what happens to therepresentation of adulthood when novels are adapted for the screen. The articles testmodels for analysing thematic representation using popular works of fiction such asAtonement, Fifty Shades of Grey, Gone Girl, Me before You, Room, Shutter Island, The DaVinci Code, The Martian, The Road, Up in the Air, and novels by Patrick McCabe.Because novel-screenplay-film adaptations comprise alternative versions of astory, with their complementary lines of reasoning, they constitute particularly richthematic representations and metaphors for what social adaptation requires. In thatcontext, the thesis regards novel-screenplay-film adaptations as processes and objectsat the same time, each version an integral part of a greater dynamic whole.Relating to current theories of the attraction of fiction, chapter 1 presents theaim of the study. Chapter 2 describes the novel-screenplay-film adaptation processas a non-linear, two-way process of adaptation and appropriation, and a receptionbasedmodel for regarded adapted characters as fictional migrants. Chapter 3outlines a pragmatic model, with the hero’s journey as a foundation, to analyse thestructure of thematic lines of reasoning in fiction in general and adaptations inspecific, together with thematic markers. The chapter also presents the markers ofadulthood used in the articles, before chapter 4 and 5 summarise and discuss the fivearticles and implications related to adaptation studies, pedagogy, and screenwriting.

    Fulltekst (pdf)
    fulltext
  • 4.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion. Gothenburg University.
    Characters as fictional migrants: Atonement, adaptation and the screenplay process2020Inngår i: Journal of Screenwriting, ISSN 1759-7137, E-ISSN 1759-7145, Vol. 11, nr 1, s. 81-97Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The migration metaphor has been widely used in connection with media adaptions, but the metaphor has remained an abstract figure of speech. Yet, to understand characters as migrants who go through journeys of acculturation when they are adapted for the screen may enhance understanding of both the characters' potential and problems that may arise during the development process. This article proposes that the development of characters and their processes - as fictional beings - can be understood through the use of models that describe real migrants' adaptation processes. Using Christopher Hampton's screenplay drafts for the film Atonement (2001), it outlines how such migratory journeys go hand in hand with screenwriters' problem-solving processes. The article thus develops the idea that migrating characters, in their capacity as fictional beings and the thematic issues that they represent, both adapt to and appropriate their new media environments; simultaneously, they are appropriated by new creative forces and by the conventions of those new media environments, who in turn must adapt to the characters in this process of bi-directional acculturation.

  • 5.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion.
    "I am the one. OK!": Adaptations, Adulthood, and the Thematic Rhetoric in The Road and Others2018Konferansepaper (Annet vitenskapelig)
  • 6.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion.
    Media and Social Adaptations2018Konferansepaper (Annet vitenskapelig)
  • 7.
    Hermansson, Joakim
    Högskolan Dalarna, Institutionen för kultur och samhälle, Bildproduktion.
    Okay: The Road and The Good Guys' Adulthood Code2021Inngår i: Cormac McCarthy Journal, ISSN 2333-3073, E-ISSN 2333-3065, Vol. 19, nr 1, s. 46-66Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    As the man and his eleven-year-old son walk through a post-apocalyptic wasteland in The Road, the dying father has to learn anew what it is to be adult in order to be able to pass that knowledge on to his son. In the novel, screenplay, and film alike the word "okay" is used in the dialogue in dramaturgical rhythms to emphasize thematically relevant instances. In this article, the hero's journey is applied as a structure together with a set of markers of adulthood to compare the rhetoric progression of adulthood in, above all, the screenplay and novel. The article concludes that the versions of The Road employ different rhetorical strategies to form distinct and complementing arguments about what it is to be adult.

  • 8.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion.
    Strange Masks of Truths and Identities2018Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    The connection between novel-to-film studies and identity politics has been addressed since at least 1915, Kamilla Elliot observes, and Laurence Raw has recently drawn relevant attention to the analogy between Jerome Bruner’s theories about identity formation and personal adaptation through reorienting narration and media adaptations. Inspired by Raw, in this paper, I discuss the perils, truths, and morals of adaptation that the characters in Patrick McCabe’s novels lay bare.

    McCabe, mostly known for “Butcher Boy” (adapted for the screen by Neil Jordan), consistently dramatizes how people try, and often fail, to adapt to new social conventions and realities with the guidance of cultural archetypes and ideal fictional characters. In Winterwood (2006) and The Holy City (2009) the protagonists, and the novels, conjure adaptions and appropriations of James Bond, mediations of the Irish Paddy, the New Man, Stephen Dedalus and others, in their attempts to mould out new identities in a world of flux. They do so mostly through narrative reconstruction of the truth about themselves, their environment, and of the fictional references they make use of. As McCabe’s protagonists navigate through the mazes of truth and identity, they demonstrate that, as long as fluctuations of ontologies keep epistemological issues at ransom, identities of characters and stories demand re-imaginations at risk of absolute loss of identity, for the sake of adaptation, and vice versa. For characters and stories, it is a matter of life and death both way around. 

    Like Derrida’s postulation “il n'y a pas de hors-text”, McCabe’s narratives ask the field of adaptation studies and creative teams of adaptations the simple questions: What is the true text and what is a true identity within that frame? What strategies should be employed to ascertain a valid truth of the text and valid true identities, in that context? The answer given is that any adaptation entails the human conflict between the yearning for truth and identity, and the fear of loss of the same. Adaptations, McCabe teaches us, is a perilous game of strange masks of identities, regardless of whether media, political, or social adaptations are considered.

  • 9.
    Hermansson, Joakim
    Göteborgs universitet.
    Strange Masks of Adapted Identities in Patrick McCabe’s Winterwood and The Holy City2020Inngår i: Adaptation, ISSN 1755-0637, E-ISSN 1755-0645Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Patrick McCabe’s novels dramatize how people make use of character archetypes, media ideals, and fiction to adapt to new realities. These concerns are especially notable in two of his later novels, The Holy City and Winterwood. In the protagonists’ process of social adaptation, they illustrate how the construction of self-identity is defined by narration, and how a world in flux demands constant re-negotiation of the narrative and adaptation to the new story to make self-identity, life patterns, and their contexts match. In effect, the narratives suggest that engagement in media adaptations can guide audiences to find strategies for social adaptation.

    Fulltekst (pdf)
    fulltext
  • 10.
    Hermansson, Joakim
    Högskolan Dalarna, Akademin Humaniora och medier, Bildproduktion.
    The bi-directional Nature of the Screenplay2019Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    In novel-to-film adaptation processes, screenplays are generally considered as transitory texts in chaotic flux, a number of necessary phases that characters and narratives must pass through, characterised by innumerable changes during the course of film productions.

    The traditional models, based on industrial productions, thus place the screenplay in the middle between two complete works of art in a linear process, an illustration of the modernist era’s ideal industrial models. This liminal position has marked the screenplay’s and the screenwriter’s statuses as subservient to any works of art and other artists, without proper recognition of the craft and values of the art of adaptation screenwriting. 

    There have been alternative models, especially in screenwriting manuals, romantically depicting the screenwriter’s independence to create the foundation for an artwork, after the novel has been read once or thrice. However, the screenplay is still reduced to a mere starting point for the film production, a screen idea, to speak with Ian MacDonald. In more complex models of adaptation, such as for instance the ur-text model (Cardwell) and intertextual approaches, the screenplay is generally neglected.

    I suggest that that as long as the models of adaptation that include the screenplay are based on simple, linear orders, and neglect the more complex concerns, the value of the adaptation screenplay cannot be fully appreciated. Thus, this presentation proposes a model, based on multiple two-way processes, which describes how the screenplay adapts and appropriates both novel and film, or the screen idea, and is at the same time appropriated by the characters, vision and conventions of both novel and film.

  • 11.
    Hermansson, Joakim
    Högskolan Dalarna, Institutionen för kultur och samhälle, Bildproduktion.
    The hero's thematic journeys in advertisement films2022Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    In this paper, I examine how successful advertisement films can be understood through the complex thematic progression of the hero’s journey, as it outlined by Joseph Campbell, with theme as the actual hero. As Campbell, Patrick Colm Hogan, and others argue, characters and narrative structures in film and literature adopt global and evolutionary patterns. However, whereas the narratives of successful feature films commonly match inner, physical, and thematic dramatic developments in eleven, seventeen, or twenty-two steps, and forty to sixty scenes, the intense complexity of advertisement films, of six to sixty seconds long, is commonly ignored, and they are often analysed in much simpler terms, on the basis of three or four rhetorical factors and stages.  I have previously argued that the stages of the hero’s journey can be translated into a purely thematic line of argument. In feature films each step in a thematic line of reasoning stretches over several scenes and perhaps ten minutes. In advertisement films the screenwriter may only have a half to three seconds to communicate each step of the rhetorical argument. In this presentation, I apply that model of reasoning to varied Swedish and American examples, ranging from Volvo and Klarna banking, eyeglasses, to Coca-Cola, to demonstrate how the multimodal complexity of award-winning commercials follow universal conventions, regarding perception and narrative structures communicate thematic content, with intense multimodal means. As a result, the presentation advances the notion that quality advertisement films demand complex screenwriting skills, and that the hero´s journey presents a universal tool for the transfer between conventional screenwriting and the production of content for social media

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