Abstract
In the last twenty-five years, within the audiovisual industry, it has been recurrent the remake, adaptation (or recycling) of some products that have obtained a huge success in other countries for audiences that have little or nothing to do with those addressed originally. The topic has been studied from the sociological and/or economic point of view. Nevertheless, it does not have recieved too much attention in terms of discursive analysis. What is the role of this operations in relation to the Mode of Representation and to the creation of new spectatorial subjetivities is the goal of this article, using tghe double adaptation of a Henning Mankell’s novel, The Fifth Woman : a Swedish-german film and a British Tv movie.
References
BARTHES, Roland, (1964). “El análisis estructural de los relatos”. Trad. de Beatriz Dorriots, en Silvia Niccolini (ed.). Buenos Aires, Centro editor de América latina.
BURCH, Noël, (1987). El tragaluz del infinito. Trad. de Francisco Llinás. Madrid, Ediciones Cátedra.
TALENS, Jenaro (2010). «L’écran Babel: cinéma, modes de représentation et imaginaire culturel européen», en Silvio Guindani et Jenaro Talens (eds). Carrefour Europe. Bruxelles, Academia Bruylant, pp. 85-108.
Obras Audiovisuales:
Inspector Wallander: Die Funfte Frau (1997), dirigida por Birger Larsen.
Wallander: The Fifth Woman (2008), dirigida por Philip Martin.
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Copyright (c) 2012 Susana Díaz