Sam Babington

Fiction Adaptation

Page 1

Fiction Adaptation Essay:

Adaptation within Grimm (2011), The Great
Gatsby Book (1925) and Gatsby (2011) has the
integrity of the original text been infringed?
Sam Babington: 1306356
Television Production Year 2
3rd November 2014
Word Count: 2017
Kath Abiker

Sam Babington

Fiction Adaptation

Page 2

Contents Page
Cover Page.....................................................................................1
Introduction..................................................................................3
Main Body.................................................................................3-7
Conclusion.....................................................................................8
Bibliography.................................................................................9
Illustration List..........................................................................10

Sam Babington

Fiction Adaptation

Page 3

In adapting a novel the adaptor inevitably infringes the

integrity of the original text discuss with reference to at
least one text adapted for broadcast on television.
Introduction
Within television, it has been heavily criticized that fiction adaptations may
infringe the integrity of its original text. The ideology behind adaptation can be
defined as a text that has been changed to suit a new purpose or environment
[2010: 3], where its significance is determined through a variety of adaptation
aspects. For example, the auteurs style may influence the fidelity of the text through
ways such as a pastiche or Avant Garde transformation, or even challenging
narrative conventions. Similarly, the vast progression of postmodernism too can
inevitably infringe such originality it is often criticized that modernized television
may defamiliarize the narrative through the challenge of a characters homage, or
even converting a text into a hybrid to attract broader audiences. Semiotics and
intertextuality are often associated with adaptation as they may allow the audience to
gratify nostalgic moments with the text, thus conforming to the originality of a text.
Such infringement will be argued throughout this essay whilst remaining comparative
to the television series Grimm (2011) an almost surrealist adaptation of iconic fairy
tale stories, which have been given a morbid and darkened twist. Additionally, film
adaptation too will be explored by comparing the modernized adaptation of Gatsby
(2013) with the original novel The Great Gatsby (1925). Additionally, the essay will
be reinforced by theorists such as Frus, Barthes and Eco, whom will be used as
evidence for a balanced argument plus to explore ideologies linking to fiction
adaptation.

Main Body
Primarily, the supernatural drama series Grimm (series 1 and onwards), can be
argued that it infringes the integrity of fairytale stories to an extent that it almost
transforms instead of adapting the original stories. The vast adaptations consist of a
metamorphosis of each fairytale, which instead now conforms to the hybrid genre
the auteur has added thriller and horror to the fantasy-based genre. Such

Sam Babington

Page 4

Fiction Adaptation

transformation can be argued to be an avant-garde transformation. For example,

Alexander Graf quotes that avant-garde unfetters dynamism to enable television
to charm to achieve its full potential to become mysterious [1994:3]. Such avantgarde portrayal is reinforced by the cinematography the auteur intentionally adapts
these fairytales with a gothic and supernatural feel. This is evident from the recurrent
use of low-key lighting, which is used when we see the fairytale
antagonist, creating this darkened and uncomfortable representation.
Thus, the auteur almost creates a silhouette portrayal of these
fairytale characters (such as the Big Bad Wolf), creating a more
Avant Garde and dramatic adaptation.

Additionally, such avant-garde adaptation may even be

Figure 1 A 'Blutbad' - an adaptation

of the Wolf' from
Little Red Riding Hood

criticized further arguing that it is instead a transformation and not an adaptation.

For example, Phyllis Frus quotes that a transformation is a text that reworks an
older story or stories, making a transformation very much like an adaptation.
[2010:3]. This criticism is evident within Grimm, as the first episode portrays a
symbolic representation of a little girl with a red jacket whom is kidnapped by an
antagonistic monster (aka the wolf), remaining intertextual with the Little Red Riding
Hood. Such relativity to the original fairytale story however is transformed thus
challenging the texts integrity due to the auteur intentionally creating a morbid and
profound twist by characterizing the original wolf, into a gruesome killing archetype
called a blutbad (shown in Fig.1).

Recently, the post-modern era has arguably destroyed original television with
the demand for a modernized adaptation it is becoming conventional for television
to almost blur the audience with fiction, plus to blur genres and intentionally
disrupting the narrative by challenging character traits for example. This is
significantly applicable within Grimm due to the development of fairytale stories
being within the 1700s, and Grimm being in the latest century. Nonetheless, such
ideology arguably could be reliant on the adaptation itself. From the modernism you
choose, you get the postmodernism you deserve [1999:1] this is applicable for
Grimm as the series revolves and thrives amongst these fairytale stories however has
been modernized, thus adapted into a metamorphic and diverse series. Consequently,

Sam Babington

Page 5

Fiction Adaptation

despite the significant time era difference, the series is portrayed as a homage in terms
of characterization, which arguably help to maintain a sense of security with the
original text. This novelty is evident through both the narrative and characters, which
although have been reformed, still depict crucial and recognizable traits. For example,
the opening of each episode conventionally opens with a
distinguishable quotation from a fairytale, thus reminding the
audience that the narrative is an adaptation of whichever fairytale
the quotation is from (shown in Fig.2). Nonetheless, it is
inevitable that these traits will be adapted to conform to the
postmodernist tropes and idioms. This may be why the auteurs of
Grimm have created a pastiche and supernatural twist of these

Figure 2 Quotations from a Fairy

Tale, which opens each episode.

fairytales, so that the series becomes distinctive and confirmative for the
revolutionized audience. Such modernization is reinforced by Frus, who quotes
Because there are so many fairytales being retold adaptations may transform texts
by borrowing, mocking, challenging or correcting the ideology of the
processor[2010:7], leading it to convert into an adaptation. Thus, series like Grimm
are almost forced to infringe its originality so that the adaptation becomes more
unique and portrayed as avant-garde, aiming to gratify audience expectations.
In terms of adaptation, the term unfaithful is a common criticism. By this we
mean that the fundamental narrative, thematic, and aesthetic features of its literary
source [2009:185] has been intentionally disputed. This too is evident within film as
some texts often lack salient features so that it can remain faithful to the
postmodernist audience. As well as Grimm, the modernized adapted film Gatsby has
been criticized for the issue of characterization the main protagonist, Nick, has been
portrayed to be more problematic by intentionally adapting to the prohibition of
alcohol, and we even learn that he has had problems with alcohol in the past, thus
showing how the narrative has been made more problematic to conform to the
modernized audience. This adaptation is conventional for the postmodernist era as the
audience are often left with enigmas an unanswered question which requires the
audience to guess the next piece of information [2014:28]. Nonetheless, such
challenge of the novels integrity is also evident with the films soundtrack where
Luhrmann uses non-diegetic modernized pop music to gratify some of the audiences

Sam Babington

Fiction Adaptation

Page 6

personal identity needs (People use media content to compare themselves and their
situations with those of others, as quoted by Pieter Fourie) [2001:297].
Subsequently, it is inevitable for films and television to infringe the integrity of texts
due to the arguably demanding post-modernist generation.

Similarly, whilst exploring the ideology of semiotics, it is apparent that Grimm

illustrates fidelity to its adaptations through the use of intertextuality. As quoted by
Umberto Eco, semiotics is when phenomenas are used In order to mention things or
state in the world [1979:152]. Such belief is evident within Grimm as some of the
audience may gratify their surveillance needs (the need for information, as quoted
by Pieter Fourie) [2001:297] through
intertextuality i.e. the blutbads house, whose
mise-en-scene is almost iconic with the Big Bad
Wolfs, thus conforming to the truth of its
originality. Such intertextuality is also reinforced
from the way symbolism is used to conform to the
original narrative and becoming instantly
identifiable that it is an adaptation. For example,

Figure 3 Symbolism within Grimm. The red jacket

signifies upcoming danger (as she is later
kidnapped and killed)

the harsh red of the little girls jacket isnt just iconic, yet however also signifies
potential danger and death (the same significance as shown in Fig 3), which is key
throughout Grimms narrative. As well as television, semiotics also works in a
significant way within film to remain faithful to the original text. The adapted film,
Gatsby, also uses symbolism however in a more visualized and metaphorical way. For
example, the Doctor Eckleburg poster is frequently referred to within The Great
Gatsby novel as a connotation of God, thus having the same religious connotations
evident within the film. Thus, semiotics have been used in both texts to remain
faithful to the integrity of the original texts.

Whilst exploring the authenticity of adaptation, you can dispute that Grimm
conforms to the original narrative structure of traditional fairytale stories. As
classified by Roland Barthes ideology on narrative structures, Grimm conforms to the
proairetic narrative code the theory that the narrative closes off this plurality of
meaning, seeking to produce a chronological movement from beginning to end in
which a mystery (enigma) is ultimately solved [1995:87]. For example, the narrative

Sam Babington

Page 7

Fiction Adaptation

structure of Grimm often consists of finding the disruption within the narrative (e.g.
the blutbad) where the narrative then leads to this disruption being resolved or
worsened, through the use of hints (aka enigmas). Alternatively, this structure too is
evident within most fairytale stories for example, within The Three Little Pigs, the
audience are given hints that the house they build may potentially get blown down by
the wolf. Nonetheless, such parallels in the narrative have been challenged within the
Gatsby film, which follows Barthes cultural code ideology: the film consists of
numerous codes of knowledge or wisdom to which the text continually refers
[1995:87]. This reinforces the idea on how the film has been adapted to conform to
the postmodernist expectations, as previously mentioned the film has a modernized
soundtrack in addition to conforming to the arising representation of drugs. For
example, we see Tom Nick and Jordans POV on drugs, which has no mention within
the novel. Such criticism can be referred by Proctors theory that In a postmodern
world, drug abuse would not be seen as such because
there are no absolutes to determine what is abusive.
[2012:127]. Thus, it is inevitable for adaptations to
contravene its originality as it may conform to
postmodern and even reality issues.

To finalize, an efficient way of analyzing an

Fig 4. Social Media and the Summer of Gatsby

(2013). Are Gatsby's parties a false adaptation to
conform to the postmodern audience?

adaptations faithfulness is to directly contrast itself

with its original text. When looking at the opening latest Gatsby film (2013)
compared to the original The Great Gatsby novel, there are major differences almost
immediately. The book is generally much more advanced and sophisticated in terms
of vocabulary i.e. it uses words such as quivering and plagiaristic [1925:1].
Such diversion in vocabulary reinforces the ideology of postmodernism, as the film
has almost been dumbed down and made reasonably simplistic to comply with its
target audience. Additionally, this helps to show the diversion in audiences and
whom each text is targeting, thus distinguishing Fouires reception theory. Fourie
quotes that we use reception theory to investigate readers, we investigate the process
of interpretation (sense-making) [2001:244]. Thus, you can debate that the film
adaptation mayve infringed the fidelity of its original text due to its arguable
informal and casual tone, which conforms to a broader audience, unlike the book.

Sam Babington

Fiction Adaptation

Page 8

Conclusion
Primarily, it is evident that Grimm has intentionally challenged the original
fairytale stories to an extent that it remains partiality unfaithful. Such adaptation is
initially portrayed through the auteurs directing style (i.e. through cinematography),
as the series is portrayed as an avant-garde transformation, giving the series its own
unique persona. Nonetheless, the series also remains loyal through semiotics the
narrative consists of visual elements such as symbolism and intertextuality that
portrays Grimm as a substantial homage in terms of character traits.
Similarly, the television series also conforms to a similar narrative structure
when investigating Barthes ideology, which too enable this sense of security and
connectivity to convey. Despite this, it is clearly evident how both Grimm and Gatsby
have been adapted to conform to the postmodern demands. Grimm is merely a
transformation due to its supernatural and horror twist throughout the narrative.
Consequently, some film adaptations intentionally distraught the fidelity of its
original text however to a much more significant extent. When directly contrasting the
two texts scripts, the newly adapted Gatsby film generally targets a broader audience
compared to its original by making the narrative seem more problematic as well as
less sophisticated in terms of its vocabulary. Thus, my key conclusion consists of the
way postmodernism has an extremely significant influence on not only adaptations,
but also film and television as a whole.

Sam Babington

Fiction Adaptation

Page 9

Bibliography
Grimm (2011-Present), Produced by Kouf J, Greenwalt D, Carpenter S. USA, NBC.
Gatsby (2013), Directed by Luhrmann, Baz. USA, Warner Bros.
Frus, P & Williams (2010). Beyond Adaptation(Ed). USA: Box 611, Jeffereson, North
Carolina 28640. 3-7. (1,2,5)
Graf, A. Scheunemann, D (1994). Avant Garde Film. Amsterdam: Avant Garde
Critical Studies. 4. (3)
Woods, T (1999). Beginning Postmodernism. UK: Manchester University Press. 1. (4)
Benyahia, S C, Gardner A, Rayner P, Wall P (2014). Media Studies: The Essential
Resource. 2nd ed. Oxon: Routledge. 28. (6)
Fourie, P J (2001). Media Studies: Institutions, theories and issues. South Africa: Juta
Education. 297 (7, 9)
Eco, U (1979). A Theory of Semiotics . USA: Indiana University Press. 152. (8)
Beecher Stowe, H (2009). Uncle Tom's Cabin. 2nd ed. USA: Canada Cataloguing in
Publication. 185 (10)
Roland Barthes (1995). Roland Barthes. 2nd ed. France: Vintage. 87. (11)
Proctor, Bruce A (2012). A Definition and Critique of Postmodernism. 2nd ed. USA:
Xulon Express . 127 (12)
Fitzgerald, F S (1925). The Great Gatsby. USA: Charles Scribner's Sons. 1 (13)
Fourie, P J (2001). Media Studies: Content, Audiences and Production Volume 2.
South Africa: Juta Education. 244. (14)
Jacobs, J. (2003). English Fairy Tales. Available: http://www.authorama.com/englishfairy-tales-16.html. Last accessed 17th November 2014.
N/A. (2013). The Great Gatsby Movie Script. Available:
http://www.springfieldspringfield.co.uk/movie_script.php?movie=the-great-gatsby.
Last accessed 17th November 2014.

Sam Babington

Fiction Adaptation

Page 10

Illustration List
Figure 1. Monroe, Grim Wiki (2011) [Image] At:
http://grimm.wikia.com/wiki/Monroe (Accessed on 17/11/2014)
Figure 2. Quotations from a fairytale, which opens each episode. [Print screen from
Series 1, Episode 3]. Grimm (2011-Present), Produced by Kouf J, Greenwalt D,
Carpenter S. USA, NBC.
Figure 3. Symbolism within Grimm. The red jacket signifies upcoming danger (as she
is later kidnapped and killed) [Print screen from Series 1, Episode 1]. Grimm (2011Present), Produced by Kouf J, Greenwalt D, Carpenter S. USA, NBC.
Figure 4. Social Media and the Summer of Gatsby (2013) [Image] At:
http://www.tft.ucla.edu/mediascape/blog/?p=1920 (Accessed on 17/11/2014)