The intention of this paper is to focus on the inevitability of change during adaptation, from fiction to film, which is essential and unavoidable, mandated both by the constraints of time and medium, with the example of Triveni’s Sharapanjara. Some film theorists have argued that a director should be nonchalant with the source, given that novel and film are entirely dissimilar entities, two singular art forms, and should be seen as such. Another line of argument is that though the director is invested with a certain freedom to change, ‘to adapt’, the original fiction; the film must be accurate / truthful to either the effect or the theme or the message of the novel. In other words the adaptation must faithfully incorporate the aesthetics of the original work, and the changes should be incorporated along one of these axes. “Perhaps the search for an ‘original’ or a single author is no longer relevant in a postmodern world where a belief in a single meaning is seen to be a fruitless quest. Instead of worrying about whether a film is ‘faithful’ to the original literary text (founded in a logocentric belief that there is a single meaning), we read adaptations for their plurality of meanings. Thus the intertextuality of adaptation is our primary concern” (Cartmell: 28).Since the transcription of a novel into a film is impossible; it seems absurd to be obsessed with ‘accuracy’. Terry Eagleton’s explanation of the Derridian notion of text is that “ there is nothing in the world that is not ‘textual’, in the sense of being made up of a complex weave of elements which prevents it from being clearly demarcated from something else. ‘Textual’ means, that nothing stands gloriously alone (Albrecht: 26).Adaptation is recreating, translating th...
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