The Translation of New Zealand fiction into film

Abstract

This thesis explores the topic of literature-into-film adaptation by investigating the use of New Zealand fiction by film-makers in this country. It attempts this task primarily by examining eight case-studies of the adaptation process: five features designed for cinema release (Sleeping Dogs, A State of Siege, Sons for the Return Home, The Scarecrow and Other Halves), one feature-length television drama (the God Boy), and two thirty-minute television dramas (The Woman at the Store and Big Brother, Little Sister, from the series Winners and Losers). All eight had their first screenings in the ten-year period 1975-1985. For each of the case-studies, the following aspects are investigated: the original work of fiction, a practical history of the adaptation process (including interviews with people involved), and a study of changes made during the scripting and shooting stages. The films are analysed in detail, with a focus on visual and auditory style, in particular how these handle the themes, characterisation and style of the original works. Comparisons are made of the structures of the novels and the films. For each film, an especially close reading is offered of sample scenes (frequently the opening and closing scenes). The thesis is illustrated with still photographs – in effect, quotations from key moments – and these provide a focus to aspects of the discussion. Where individual adaptation problems existed in particular case-studies (for example, the challenge of the first-person narration of The God Boy), these are examined in detail. The interaction of both novels and films with the society around them is given emphasis, and the films are placed in their cultural and economic context - and in the context of general film history. For each film, the complex reception they gained from different groups (for example, reviewers, ethnic groups, gender groups, the authors of the original works) is discussed. All the aspects outlined above demonstrate the complexity of the responses made by New Zealand film-makers to the pressure and challenges of adaptation. They indicate the different answers they gave to the questions raised by the adaptation process in a new national cinema, and reveal their individual achievements.