The Nature of Film Translation:

Literal, Traditional, and Radical

in Literature into Film: Theory and
Pratical Approaches, by Linda
Constanzo Cahir

To explore the merits of literature-based films > see them as

translations

Difference between adaptation and translation

Adaptation > alter the structure or function of an entity so that it fits
in a different environment
Translation > to move a text from one language to another; a fully new
text is made
To think of literature-based films as translations is to understand that:
1) Every act of translation is simultaneously an act of interpretation;
2) Through the process of translation, a new text emerges;
3) Film translators of literature face the same challenges that any
translator faces.

It's also necessary to understand that there are

different translation modes:
1) literal translation: reproduces the plot and all the
details as closely as possible;
2) traditional translation: maintains the overall traits of
the book, but revamps particular details;
3) radical translation: reshapes the book in extreme
and revolutionary ways.

Case Study: Moby-Dick by Herman Melville

1. Literal Film Translation of Moby-Dick (1956, dir. John Huston)

The film stays as near to the written text as possible;

Conveys the novel's drama;
Tried to replicate every detail;
Only two exceptions to satisfy popular tastes;
Stays on the surface of Melville's ideas.
Literal translations do not lend themselves to exploration of the
meanings of the parent text.

2. Traditional Film Translation of Moby-Dick

(1998, dir. Franc Roddam)
Maintained the overall traits of the book (plot, setting, stylistic
conventions), but revamped details as the filmmakers saw fit;
It includes whaling and historical inaccuracies;
The alterations further the filmmakers' interpretations;
Makes us think about Moby-Dick in unexpected ways.
Theatrical moments may run contrary to readers impressions
Ambiguity a. literally -- films interpretative image is consistent
b. darkly ironic -- religious interpretation
Traditional film translation stays respectfully close to the original
text.

Radical film translation

Reshapes the literary work extreme/revolutionary ways;
Not unique to the film;
Multicultural explorations;
Pride and Prejudice (2005) / Pride and Prejudice (Austen);
Total artistic liberties;
Exciting/unlimited possibilities of expressions and interpretations.

Complex literary texts of form and meaning must be

taken up by filmmakers with
1.
2.
3.
4.

Wisdom and intelligence;

Technical skills;
Conceptual creativity;
Creative expression.

Radical film translations in a realistic style

Francis Ford Coppolas Apocalypse Now ( Joseph Conrads Heart
of Darkness)
Gus Van Sants My Own Private Idaho ( Shakespeares Henry IV)
Clueless ( Jane Austens Emma)
Martin Scorseses Gangs of New York ( Herbert Asburys The
Gangs of New York)

Radical film translations in a non-realistic style

Luis Buuels Abismos de Pasion ( Emily Brntes Wuthering
Heights)
Andy Warhols Frankenstein ( Mary Shelley)
David Cronenbergs Naked Lunch ( William S. Burroughs)
Shrek ( William Steigs Shrek)
Ken Jacobs The Sky Socialist ( Hart Cranes The Bridge)

Traditional film translations (in part or in whole, non-realistic in style)

of non-realistic literature
Fred Haines Steppenwolf ( Herman Hesse)
George Roy Hills Slaughterhouse-Five ( Kurt Vonnegut)
Terry Gilliams Fear and Loathing in Las Vegas( Hunter S.
Thompson)

Traditional film translations of realistic-in-style literature

Caroll Ballards The Black Stallion ( Walter Farley)
Mike Nichols The Graduate ( Charles Webb)
Steven Spielbergs Empire of the Sun ( J. G. Ballard)

Traditional & Radical translations creation of an independent work;

Traditional & Literal translations adherence to original narrative

values;

Literal translation replication of the literary text. Such as

Harry Potter saga;
John Maddens Ethan Frome ( Edith Wharton)
Peter Bodganovichs Daisy Miller ( Henry James)
Jack Claytons The Great Gatbsy ( F. Scott Fitzgerald)

Literal film translations of literature can excite us through their

extraordinary capacity to transport us to the very world that the
literature describes. Literal translations can also frustrate us in their
failure to plumb the depths of the literature they are rendering.

While traditional and radical film translations are more likely to

explore the regions of meaning in the literary text than literal
translations do, these two translation modes may frustrate us for
their failure to render the literal world that the writer has had us so
strongly envision.