An Amazing Song: The Composition of the Minisseries The Stone of the Kingdom and its Relationship With the Public
The adaptation of the novel A Pedra do Reino e o príncipe do sangue do vai-e-volta, (1971) , by Ariano Suassuna, for the minisseries A Pedra do Reino (2007) directed by Luiz Fernando Carvalho, in the microseries format, has caused surprise and bewilderment to reviewers and audience alike. The exten...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
David Publishing Company
2017
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| In: |
Cultural and religious studies
Year: 2017, Volume: 5, Issue: 5, Pages: 256-267 |
| Further subjects: | B
TV
B Literature B The Stone of the Kingdom B Reception |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a The adaptation of the novel A Pedra do Reino e o príncipe do sangue do vai-e-volta, (1971) , by Ariano Suassuna, for the minisseries A Pedra do Reino (2007) directed by Luiz Fernando Carvalho, in the microseries format, has caused surprise and bewilderment to reviewers and audience alike. The extensive and originally hermetic literary work, when re-created for television, became difficult to understand, resulting in poor reception by the public ‒ though highly praised by reviewers ‒ compared to works in the same format and time of exhibition. In this study, the author proposes a reflection, in the light of semiotic and communication theories, in order to understand the relationship between the work and the viewer. The analysis takes into account especially the options of the expression plan as well as the closeness that the audiovisual narrative maintains with the literary work. The conclusion reached is that the introduction of the elements of the enunciation ‒ person, time and place ‒ inherited from the novel, as well as expressive options like camera movements, light, prosody and gesture, impart an excessively accelerated rhythm, which interferes in the understanding of the work and in its consequent reception. | ||
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