Macbeth, throne of Blood and the idea of a reflective adaptation

TY - JOUR

T1 - Macbeth, throne of Blood and the idea of a reflective adaptation

AU - Currie, Gregory Paul

AU - Zamir, Tzachi

N1 - © 2018, The American Society for Aesthetics. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details

PY - 2018

Y1 - 2018

N2 - Adaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artAdaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.istic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.

AB - Adaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artAdaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.istic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.

KW - Adaptation, Macbeth, Throne of Blood, Kurosawa, Shakespeare

U2 - 10.1111/jaac.12562

DO - 10.1111/jaac.12562

M3 - Article

SN - 0021-8529

VL - 76

SP - 297

EP - 308

JO - Journal of aesthetics and art criticism

JF - Journal of aesthetics and art criticism

IS - 3

ER -