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

Yıl 2019, Cilt: 10 Sayı: 2, 481 - 509, 30.10.2019

Özlem Karadağ

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

Cited By: 1

Öz

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. 

Anahtar Kelimeler

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

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

Öz

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. 

Anahtar Kelimeler

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

Kaynakça

• Alcalâ , C. D. (2004). Return to Austen: Film Heroines of the Nineties. In S. Onega and C. Gutleben (Ed.). Refracting the Canon in Contemporary British Literature and Film. (pp. 95-110.) New York: Rodopi.
• Bignell, J. (2000). A Taste of the Gothic: Film and Television Versions of Dracula. In R. Giddings and E. Sheen (Ed.). The Classic Novel: From Page to Screen (pp. 114-130). Manchester: Manchester University.
• Browning, T. & Deane & Hamilton (Director & Screenwriters). (1931). Dracula. [Motion Picture]. U.S.A.: Universal Films.
• Chevalier, J. & Gheerbrant, A. (1996). The Penguin Dictionary of Symbols. (John Buchanan-Brown, Trans.). London: Penguin.
• Connolly, A. (2008) Jung in the Twilight Zone: The Psychological Functions of the Horror Film. In S. Rowland (Ed.). Psyche and the Arts: Jungian Approaches to Music, Architecture, Literature, Painting and Film (pp. 128-38). London: Routledge.
• Coppola, F. F. & Hart, J. V. (Director & Screenwriter). (1992). Bram Stoker’s Dracula. [Motion Picture]. U.S.A.: American Zoetrope, Columbia Pictures, Osiris Films.
• Cotterell, A. & Storm R. (1999). The Ultimate Encyclopedia of Mythology. China: Hermes.
• Davison, C. M. (1997). Introduction: Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997. In C. M. Davison & P. Simpson – Housley (E.). Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997. (pp. 19-40). W. P.: Dundurn.
• Gelder, K. (1994). Reading the Vampire. London: Routledge.
• Hutcheon, L. (2006). A Theory of Adaptation. London: Routledge.
• LeBlanc, J. (1997). “It is not good to note this down”: Dracula and the Erotic Technologies of Censorship. In C. M. Davison & P. Simpson – Housley (Ed.). Bram Stoker’s Dracula: Sucking Through the Century, 1897-1997 (pp. 249-68). W. P.: Dundurn.
• Miller, J. H. (2004). Parody as Revisionary Critique in Charles Palliser’s The Quincunx. In S. Onega & C. Gutleben (Ed.). Refracting the Canon in Contemporary British Literature and Film (pp. 129-48). New York: Rodopi.
• Montalbano, M. (2008) From Bram Stoker’s Dracula to Bram Stoker’s ‘Dracula’. In R. Stam & A. Raengo (Ed.). A Companion to Literature and Film (pp. 385-98). Oxford: Blackwell.
• Onega, S. & Gutleben, C. (2004) Introduction. In S. Onega & C. Gutleben (Editors). Refracting the Canon in Contemporary British Literature and Film (pp. 7-15). New York: Rodopi.
• Spadoni, R. (2007). Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. California: University of California.
• Stoker, B. (2000). Dracula. Kent: Wordsworth.
• Welsh, J. M. (2007). Sucking Dracula. In J. M. Welsh & Peter Lev (Ed.). The Literature/Film reader: Issues of Adaptation (pp. 165-74). Plymouth: The Scarecrow.