Browning’in ve Coppola’nın Dracula Uyarlamalarında İmge Aralarını Okumak

Year 2019, , 481 - 509, 30.10.2019

Özlem Karadağ

https://doi.org/10.32001/sinecine.639737

Cited By: 1

Abstract

Bu makale, Linda Hutcheon’ın uyarlama kuramını kullanarak, Bram Stoker’ın Dracula (1897) romanının iki uyarlamasının, Tod Browning’in Dracula (1931) ve Francis Ford Coppola’nın Bram Stoker’ın Dracula’sı (1992) filmlerinin karşılaştırmalı bir incelemesini sunar. Gişe odaklı filmler olarak görülmelerine rağmen Dracula ve Bram Stoker’ın Dracula’sı uyarlama için iki önemli örnek teşkil eder çünkü her biri romanı farklı bir kültürel ve tarihi arka planda uyarlar, bu nedenle metni kendi zamanlarının endişelerine göre yorumlarlar. Bu çalışma yazarın ve yönetmenlerin sınıf, cinsiyet ve “öteki” konuları hakkındaki çatışmaları ele alışlarını romanın ve uyarlamaların tarihi arka planlarıyla yani Victoria Dönemi, Büyük Buhran ve 1990lar ile yakın ilişki kurarak inceler. Hutcheon’ın kuramından yola çıkarak bu çalışma her bir uyarlamanın sadakat(sizlikler)i ile sadece döneminin sorunlarını farklı Drakula imgesi yorumlarını kullanarak yansıtmaya çalışmakla kalmayıp ayrıca seyirciye yönetmen(ler)in her bir seçimi ile yeni anlamlar üretme fırsatı tanıyan yeni metinler olarak ortaya çıkan, uyarlama tanımına uyan eserler olduklarını da kanıtlamaya çalışır. 

Keywords

Uyarlama kuramı, Linda Hutcheon, Dracula, Bram Stoker, Tod Browning, Francis Ford Coppola

Reading Between the Images in Browning’s and Coppola’s Dracula Adaptations

Abstract

This study compares two adaptations of Bram Stoker’s novel, Tod Browning’s Dracula (1931) and Francis Ford Coppola’s Bram Stoker’s Dracula (1992), using Linda Hutcheon’s theory of literary adaptation. Although listed as box-office oriented films, Dracula and Bram Stoker’s Dracula are important examples of adaptation, because each production adapts the novel in a different cultural and historical milieu; thus they each paraphrase the same text according to the anxieties of their times. The study explores the author’s and directors’ takes on the conflicts about class, gender, and “the other,” with close reference to the historical background of the novel and of each adaptation: the Victorian Age, the Great Depression, and the decade of the 1990s. Moving from Hutcheon’s theory, the study claims that each adaptation with its own loyalties to the text not only reveals the problems of its period while offering its unique interpretation of the novel, but also comes up with new texts that enable the audience to find new meaning in every choice made by its director. This is what “adaptation” means. 

Keywords

Adaptation theory, Linda Hutcheon, Dracula, Bram Stoker, Tod Browning, Francis Ford Coppola

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