Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake
The borders of adaptation studies are constantly in flux, with scholars keen to discover new perspectives and methodologies, examine new forms and push boundaries across disciplines. Despite these calls, however, there have been few inquiries which have actively analysed the liminal script, caught b...
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| Udgivet i: | URI:https://journals.openedition.org/interfaces, |
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| Format: | Article ou chapitre numérique |
| Sprog: | Anglais |
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Interfaces
2022
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_4589 |
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openedition |
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openedition-oai:revues.org:interfaces_4589 https://doi.org/10.4000/interfaces.4589 urn:doi:10.4000/interfaces.4589 en https://journals.openedition.org/interfaces/4589 2022-07-20T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4ih https://creativecommons.org/licenses/by/4.0/ Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Anastasi, Rebecca adaptation scénario écriture de scénario paternité postcolonial intellectuels transversaux diaspora frontières intervention postcoloniale Namesake (The) adaptation screenplay authorship postcolonial scriptwriting transversal intellectuals diaspora borders postcolonial agency Namesake (The) The borders of adaptation studies are constantly in flux, with scholars keen to discover new perspectives and methodologies, examine new forms and push boundaries across disciplines. Despite these calls, however, there have been few inquiries which have actively analysed the liminal script, caught between and betwixt the literary work and the film. To this end, this article takes a contrapuntal approach – tearing down the boundaries between the disciplines of postcolonial, adaptation and screenwriting studies – to analyse the representation of the diaspora, the “borderline community of migration” (Bhabha 1994, 9), in the script and film adaptations of Jhumpa Lahiri’s The Namesake (2006). To do so, various unpublished versions of Soona Taraporevala’s screenplay, as well as Mira Nair’s transposition, are examined with reference to postcolonial tenets, to reveal a dual discourse, reflective of collective authorship, in which conscious and unconscious meaning is negotiated, and deferred from one successive text to the next. Les frontières des études sur l’adaptation sont en constante évolution grâce aux travaux d’universitaires désireux de découvrir de nouvelles approches et méthodologies, d'examiner de nouvelles formes et de repousser les limites entre les disciplines. Cependant, malgré ces tentatives, peu d’études ont analysé activement le scénario liminal, situé à mi-chemin entre l'œuvre littéraire et le film. Par conséquent, cet article adopte une approche contrapuntique - en abolissant les frontières entre les disciplines des études postcoloniales, de l'adaptation et de l'écriture de scénario - pour analyser la représentation de la diaspora, la " communauté frontalière de la migration " (Bhabha 1994, 9), dans le scénario et les adaptations cinématographiques de The Namesake (2006) de Jhumpa Lahiri. Pour ce faire, diverses versions inédites du scénario de Soona Taraporevala, ainsi que la transposition faite par Mira Nair, sont examinées à la lumière des principes postcoloniaux, afin de révéler un discours à double voix, reflet d'une paternité collective, dans lequel le sens conscient et inconscient est négocié, et reporté d'un texte à l'autre. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
adaptation scénario écriture de scénario paternité postcolonial intellectuels transversaux diaspora frontières intervention postcoloniale Namesake (The) adaptation screenplay authorship postcolonial scriptwriting transversal intellectuals diaspora borders postcolonial agency Namesake (The) |
| spellingShingle |
adaptation scénario écriture de scénario paternité postcolonial intellectuels transversaux diaspora frontières intervention postcoloniale Namesake (The) adaptation screenplay authorship postcolonial scriptwriting transversal intellectuals diaspora borders postcolonial agency Namesake (The) Anastasi, Rebecca Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| description |
The borders of adaptation studies are constantly in flux, with scholars keen to discover new perspectives and methodologies, examine new forms and push boundaries across disciplines. Despite these calls, however, there have been few inquiries which have actively analysed the liminal script, caught between and betwixt the literary work and the film. To this end, this article takes a contrapuntal approach – tearing down the boundaries between the disciplines of postcolonial, adaptation and screenwriting studies – to analyse the representation of the diaspora, the “borderline community of migration” (Bhabha 1994, 9), in the script and film adaptations of Jhumpa Lahiri’s The Namesake (2006). To do so, various unpublished versions of Soona Taraporevala’s screenplay, as well as Mira Nair’s transposition, are examined with reference to postcolonial tenets, to reveal a dual discourse, reflective of collective authorship, in which conscious and unconscious meaning is negotiated, and deferred from one successive text to the next. |
| author |
Anastasi, Rebecca |
| author_facet |
Anastasi, Rebecca |
| author_sort |
Anastasi, Rebecca |
| title |
Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| title_short |
Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| title_full |
Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| title_fullStr |
Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| title_full_unstemmed |
Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake |
| title_sort |
borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of jhumpa lahiri’s the namesake |
| publisher |
Interfaces |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.4589 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/4589 |
| _version_ |
1877293111760125952 |