Ekphrastic adaptation: about the presence of painting in cinema

Abstract

The main purpose of this work is to reflect about the relationship that is established between adaptation and ekphrasis in the field of the intermediality studies, proposing to coin the term ekphrastic adaptation and reflect about the possible effects of sense. At the first moment, we seek to reflect about the conceptualization of ekphrasis defended by Clüver (2017; 2017a), which excludes kinetic media collating it with the Elleström (2014; 2017) discussions about the ekphrasis and adaptation and the potentials of representation and transmediation; Bugno-Narecka and Vieira (2020), indicate the possibility of reading in relating with ekphrasis and cinema. In the second moment, we propose the understanding of ekphrasis as verb-visual representation of verb-voco-visual, anchored above all the Hansen (2006) discussions, for later to defend what we denominated ekphrastic adaptation. Therefore, we analysed the interaction of the ekphrasis adaptation from an example of the film work The Children of Men (2006), focussed on the adaptation process that is worth the ekphrasis resource. We justify this research by the necessity of teorics references as much for the adaptation so the ekphrasis, exposing an open relationship of the study for both. In summary, we figure out that the ekphrasis when understood while a verbal or visual representation can incorporated kinetic media, such as the cinema, making use of a process of the ekphrastic adaptation whose produced sense of is considered as much for the final media so the initial media as a constituent in a group of adaptation procedure.

Keywords

• adaptação ecfrástica
• intermidialidade
• cinema.