Adaptation in media refers to the process of transforming a text, idea, or narrative from one medium into another—for example, turning a novel into a film, a play into a television series, or even a video game into a graphic novel. This process is not mere translation; rather, it involves interpretation, transformation, and re-creation.
Adaptation is not new; Homeric epics were reinterpreted in theatre, Shakespeare’s plays are constantly adapted into film, and myths have been retold across centuries.
The Purpose of Adaptation is to reach wider audiences, reinterpret stories for new cultural contexts, or explore creative possibilities unavailable in the source medium.
Fidelity v/s Creativity in Adaptation
One of the most debated issues in adaptation studies is the fidelity debate—the question of how “faithful” an adaptation must be to its source.
Fidelity Approach: Traditional critics often judged adaptations by their accuracy to the original, e.g., how closely a film followed the plot, characters, or themes of a novel. For instance, Franco Zeffirelli’s Romeo and Juliet (1968) was praised for its textual fidelity to Shakespeare.
Limitations of Fidelity: Strict fidelity can be restrictive, ignoring the differences between mediums. A novel’s interior monologue, for example, cannot be transferred word-for-word into cinema without losing impact.
Creativity in Adaptation: Modern adaptation theory (e.g., Linda Hutcheon’s A Theory of Adaptation) stresses the transformative and interpretive nature of adaptation. Directors may alter settings, characters, or endings to suit new audiences or to comment on the original. For example:
Baz Luhrmann’s Romeo + Juliet (1996) creatively relocates Shakespeare’s play to a modern, urban setting.
Vishal Bhardwaj’s Indian trilogy (Maqbool, Omkara, Haider) adapts Macbeth, Othello, and Hamlet into the Indian socio-political context.
Different Types of Adaptation
Adaptations can take multiple forms, depending on the degree of transformation and intention:
1. Literal Adaptation: Attempts to stay close to the source with minimal changes. Example: The BBC’s 1995 series Pride and Prejudice.
2. Loose Adaptation: Retains only the basic story or characters but alters plot details or setting. Example: Clueless (1995), a modern adaptation of Jane Austen’s Emma.
3. Interpretive/Transpositional Adaptation: Reimagines the original text in a radically different cultural, historical, or political context. Example: Akira Kurosawa’s Throne of Blood (1957), based on Macbeth.
4. Parodic Adaptation: A humorous or satirical reworking of the original. Example: Pride and Prejudice and Zombies (2009 novel, 2016 film).
5. Cross-Media Adaptation: Moving from one medium to another—novel to film (Harry Potter), film to video game (The Lord of the Rings franchise), or even literature to graphic novels (The Odyssey in comics).
Narrative Shifts in Adaptation
When a text is adapted, narrative shifts often occur due to differences between mediums and audiences. These include:
Point of View: Novels often employ first-person or omniscient narrators; films usually rely on visual perspective and camera techniques. Example: In The Great Gatsby (2013), Nick Carraway’s narration is transformed into voice-over, but the visual spectacle takes precedence.
Temporal Shifts: A 500-page novel must be condensed into a two-hour film, often leading to compression, omission, or restructuring.
Character Shifts: Characters may be combined, expanded, or omitted. For instance, in Peter Jackson’s The Lord of the Rings trilogy, the character Tom Bombadil is completely omitted for narrative economy.
Thematic Shifts: Adaptors may highlight or downplay themes. In Haider (2014), the theme of political violence in Kashmir is foregrounded more than in Shakespeare’s Hamlet.
Stylistic Shifts: The written word’s metaphors, imagery, or linguistic style must be replaced by cinematic equivalents such as mise-en-scène, sound, or editing.
Such shifts demonstrate that adaptation is not just about transporting a story but reconfiguring its narrative grammar.
Adapting Literary Texts into Film with Examples
Adapting literature into film is perhaps the most common and studied form of adaptation. This process requires balancing literary depth with cinematic expression.
Challenges:
Length and detail of novels often exceed film capacity.
Interior monologues and psychological depth must be visualized.
Cultural or historical contexts may need updating.
Examples:
1. Jane Austen Adaptations:
Pride and Prejudice (2005, dir. Joe Wright) highlights romance and visual elegance, condensing Austen’s social commentary.
Bridget Jones’s Diary (2001) is a modernized reworking.
2. Shakespeare on Screen:
Kenneth Branagh’s Hamlet (1996) is a nearly word-for-word adaptation.
Vishal Bhardwaj’s Omkara (2006) translates Othello into the world of Indian caste politics.
3. Postcolonial Adaptations:
Deepa Mehta’s Midnight’s Children (2012), adapted from Salman Rushdie’s novel, struggles with narrative condensation but remains an attempt to bring magical realism to cinema.
4. Popular Adaptations:
Harry Potter series (2001–2011) – balancing fidelity to Rowling’s novels with cinematic spectacle.