Why I am laying all this out for you is that we have all 5 moves in the screenplay of Gone Girl. Transcription: Amy is writing in her diary and Amy’s voice over speaks what she writes (Scene 6 (page6 of 177): “CLOSEUP on a PEN, cursiving across a DIARY. The pen is GIRLY, topped with pink feathers. We see at the top: January 8, 2005. We hear the words as we se them written in pink. AMY (V.O.) I’m so crazy, stupid happy”

QUESTION

  • Why I am laying all this out for you is that we have all 5 moves in the screenplay of Gone Girl.
  • Transcription: Amy is writing in her diary and Amy’s voice over speaks what she writes (Scene 6 (page6 of 177): “CLOSEUP on a PEN, cursiving across a DIARY. The pen is GIRLY, topped with pink feathers. We see at the top: January 8, 2005. We hear the words as we se them written in pink.
  • AMY (V.O.) I’m so crazy, stupid happy”
  • Translation: from book to script/ from script to screen
  • Interpretation: themes and symbols from the book are interpreted here. The bar, for example, is interpreted for the screen from Flynn’s imagination.
  • Adaptation: the mood of the theme of the story – the housing and economic crisis of the American mid west in the last 15 years – is adapted for the screen: Scene 5 (page5 of 177): “NICK – wearing noticeably different clothes – arrives under a glaring SUN. Down the street, a troupe of HOMELESS MEN walks single file along the river.”
  • Recreation: I’ll leave it for you to think about what is recreated here.

I think one of the most interesting questions in relation to form and these moves is whether a screenplay or a film is a place that allows for all these different moves to be present or if you could achieve that using a different form or different medium

  • Forum One asks you to think about Picasso’s Guitar Player. Is it authentic even though it is not accurate? is it, in fact, authentic because it is not accurate?
  • Forum Two asks you to think about the various versions of Oedipus. What kind of moves from fabula to sjuzet do you see? What is the result for you?
  • Forum Three asks you to think about adaptation in Gone Girl: The Screenplay. What is your impression of the screenplay now that you have read the novel?

The forums will be open until March 31 at noon. As always you only need to participate in one of them but please post your first post by March 21

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Why I am laying all this out for you is that we have all 5 moves in the screenplay of Gone Girl. Transcription: Amy is writing in her diary and Amy’s voice over speaks what she writes (Scene 6 (page6 of 177): “CLOSEUP on a PEN, cursiving across a DIARY. The pen is GIRLY, topped with pink feathers. We see at the top: January 8, 2005. We hear the words as we se them written in pink. AMY (V.O.) I’m so crazy, stupid happy”
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ANSWER

 Exploring Narrative Moves, Authenticity, and Adaptation in Gone Girl

Introduction

In the context of analyzing the screenplay adaptation of Gone Girl, we will delve into the concept of narrative moves and their significance in translating a story from one medium to another. Additionally, we will address the questions posed in the forums regarding Picasso’s “Guitar Player” and the various versions of Oedipus. Through this exploration, we aim to gain a deeper understanding of how different forms and mediums influence storytelling and the interpretation of artistic works.

Narrative Moves in Gone Girl

The screenplay adaptation of Gone Girl encompasses five primary narrative moves: transcription, translation, interpretation, adaptation, and recreation. Each move plays a crucial role in transforming Gillian Flynn’s novel into a visual medium. Transcription involves capturing Amy’s diary entries through visuals and voice-overs, allowing viewers to experience her thoughts and emotions. Translation involves converting literary elements into visual and auditory cues, such as using a pink-feathered pen and displaying the date in a visually appealing manner (Barad, 2003). Interpretation entails bringing the book’s themes and symbols to life on the screen, such as depicting the housing and economic crisis through scenes involving homeless men. Adaptation involves tailoring the mood of the story to suit the medium, making it more engaging and relatable to the audience. Lastly, recreation refers to the creative choices made in adapting the story, leaving room for individual interpretation.

Authenticity vs. Accuracy in Picasso’s “Guitar Player”

Picasso’s artwork, “Guitar Player,” challenges the notion of authenticity in relation to accuracy. While the painting may not accurately represent a traditional guitar player, it captures the essence and emotion associated with the subject. In this sense, the authenticity lies in the artistic interpretation and expression rather than a realistic depiction. Picasso’s unique style and abstraction create a new perspective that evokes emotions and conveys meaning beyond mere accuracy. Thus, the artwork can be considered authentic precisely because it deviates from strict accuracy.

Fabula and Sjuzet in Various Versions of Oedipus

The story of Oedipus has undergone numerous adaptations throughout history, each showcasing different narrative moves from fabula to sjuzet. Fabula refers to the chronological sequence of events in a story, while sjuzet represents the rearrangement or manipulation of those events in the narrative (PsychonarratologyFoundations for the Empirical Study of Literary Response, 2012). Various adaptations of Oedipus, such as Sophocles’ play, Freud’s psychoanalytic interpretation, and contemporary retellings, employ different narrative moves to explore themes, reinterpret characters, and engage with the audience. These moves alter the perception of the story, presenting new perspectives and challenging traditional notions. The result is a rich tapestry of interpretations that contribute to the ongoing relevance and resonance of the Oedipus myth.

 Impressions of the Gone Girl Screenplay

Having read Gillian Flynn’s novel and now exploring the screenplay adaptation, it is clear that the latter captures the essence of the original story while making necessary adjustments for the visual medium (Neary, 2018). The screenplay’s use of transcription, translation, interpretation, adaptation, and recreation successfully brings the characters and narrative to life on the screen. The visual cues, dialogue, and pacing effectively convey the complex psychological aspects and suspenseful plot of the novel. While certain details may be omitted or altered, the screenplay maintains the core themes and captures the essence of Flynn’s work, leaving a lasting impression on the audience.

Conclusion

The examination of narrative moves, authenticity, and adaptation in Gone Girl sheds light on the creative process involved in transforming a story from one medium to another. By analyzing Picasso’s “Guitar Player” and the various versions of Oedipus, we observe how artistic expression transcends strict accuracy, fostering authenticity and evoking emotions. In the case of Gone Girl, the screenplay adaptation successfully adapts the novel’s themes and characters, employing different narrative moves to create a compelling cinematic experience. Through these examples, we recognize the power of different forms and mediums in shaping storytelling and eliciting profound responses from audiences.

References

Barad, K. (2003). Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter. Signs, 28(3), 801–831. https://doi.org/10.1086/345321 

Neary, L. (2018, July 6). Gillian Flynn’s “Sharp Objects” Is A Whodunit . . . And A Who Is She? NPR. https://www.npr.org/2018/07/06/626249226/gillian-flynns-sharp-objects-is-a-whodunit-and-a-who-is-she 

PsychonarratologyFoundations for the Empirical Study of Literary Response. (2012, June 24). Issuu. https://issuu.com/ubormetenga/docs/__psychonarratology__foundations_for_the_empirical

 

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