Dal testo narrativo alla riscrittura cinematografica. La pianista di E. Jelinek e Funeral Party di L. Ulickaja: due casi di transmedialità
From Narrative Text to Cinematic Rewriting. Die Klavierspielerin by E. Jelinek and Funeral Party by L. Ulickaja: Two Cases of Transmedia

Summary/Abstract: In this article we will precisely consider the phenomenon of what can be defined as cinematographic rewriting. We will analyze how, starting from two narrative texts, these have been rewritten for a different medium and have become secondary texts, or rather, new texts compared to the original ones. After a methodological introduction and a theoretical reference to concepts such as “adaptation”, “storytelling”,“transmediality”, we will examine, respectively, Die Klavierspielerin by Elfriede Jelinek and its cinematographic counterpart directed by Michael Haneke, and Veselye Pochorony by Ljudmila Ulickaja and the film rewrite by Vladimir Fokin. The novels are belonging to two different linguistic cultures: German-Austrian and Russian. At the end of the article it will be highlighted how the cinematographic rewriting of the two narrative works has not diminished them in any way, rather how it has made them accessible to a wider audience. In particular, we will emphasize the two directors’ technical contributions and stylistic choices, who thus managed to capture further aspects of the original works. At the end of the article, it will be highlighted how the cinematic re-writing of the two narrative works has not diminished them in any way, rather how it has made them accessible to a wider audience. In particular, the technical contributions and stylistic choices that the directors have used will be highlighted, capturing further aspects of the original works.

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