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The novel and the film thus seem to initially create a more personal rapport with their constructed audiences. Rather than looking for a substitute for the role of Padma, this setback was compensated by introducing the voiceover. The choice has been regarded variously as a success and a failure by critics, for example, from the gender perspective.

There are indeed grounds for interpreting the substitution of a female voice with a male as problematic; this change may even be attributed to the authorial ego. However that may be, it creates a fundamental difference between the versions. In the novel, it is only in the second chapter that Padma appears and is established as the constructed audience.

Food is spoiling. At least try some green chutney. Discussing the suspense element in the novel, Nancy E.

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For solace? For the children they both wanted so much? One may speculate that the significance of this change resides in the fact that the film is less open to interpretation and, together with the slightly more optimistic ending discussed earlier, turns the gaze from oppressive past to future. Conclusion: How? And how much? We have demonstrated how the merging of authorial position and voiceo- ver narrator creates a new platform of address, which may be used, for example, as a promotional lever as in the Canadian and UK trailers.

With its particular differ- ences in relation to the other versions, the film constructs its audiences in cinematic terms. Funding This research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors. Notes 1. It was the other thing I wanted to be. The visual strand of analysis would most likely have been stronger earlier in Rushdie stud- ies without the intervening affair of The Satanic Verses, which redirected criticism to other issues.

Arthur Hiller, 64 , The Magnificent Seven dir. William A. Wellman, , Our Hospitality dir. Jim Henson, , Legend dir. Ridley Scott, , Howard the Duck dir. Willard Huyck, , Dr Strangelove dir. Stanley Kubrick, , Mephisto dir.

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The Life of Death

This list, despite its length, includes only a fraction of the references that dialogically constitute the cinematic intertexts of The Satanic Verses. The screenplay has not yet been published, so we are drawing here from our own notes on the film. As for translation proper, we plan to analyse elsewhere the translation of equivalent passages into Portuguese and Finnish. What we would like to examine is if they display additional in the sense of different or contrastive elements of audience adaptation.

The discussion goes well beyond the literary—cinematic pair, but these implications will not be considered here. See, for example, Constandinides and Brillenburg Wurth Although beyond the scope of this paper, tracing the history of the Academy Award for Best Adapted Screenplay would give us an idea of the extent to which literature has served as a constant inspiration for the entertainment industry of cinema.

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Mendes and Kuortti 15 An analysis of the ways in which the different trailers instrumentalize these perceptions to sell the film unfortunately falls outside the scope of this article. With about 1. Channel 4 decided to axe the series after failing ratings. See Oliete Aldea , especially Chapter 4.


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For more details, see Kuortti 8. In The Satanic Verses, the appearance of a Rushdiesque author- character created a lot of debate over the authorship issue in and around the novel. In the Introduction to the 25th anniversary edition of the novel, Rushdie outlines some of these elements Rushdie, ix—xii.

INTRODUCTION

Ariel 18 3 : 49— The Guardian, 30 January. The Telegraph, 12 June. Bluestone G Novels into Film. Baltimore: The Johns Hopkins Press. Boozer J Introduction: The screenplay and authorship in adaptation. In: Boozer J ed. Authorship in Film Adaptation. Austin: University of Texas Press, 1— Bowen D Mimesis, magic, manipulation: A study of the photograph in contemporary British and Canadian novels.

Brillenburg Wurth K Introduction. In: Brillenburg Wurth K ed. New York: Fordham University Press, 1— Filmmaker, 17 April. Carroll R ed. London: Continuum. Cattrysse P Film adaptation as translation: Some methodological proposals. Target 4 1 : 53— Connor JD The persistence of fidelity: Adaptation theory today. New York: Continuum. Abingdon and New York: Routledge. Mid- day, 22 April. Davidson P ed. Lewiston: Edwin Mellen Press. Cambridge: Cambridge University Press.

In Ryan M-L ed. Narrative across Media: The Languages of Storytelling. Lincoln: University of Nebraska Press, — New Brunswick: Rutgers University Press. British Theatre Guide. Garfinkel P Beyond the screen. Wall Street Journal, 2 October.

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Gilroy P Postcolonial Melancholia. New York: Columbia University Press. Hutcheon L A Theory of Adaptation.


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New York: Routledge. IBNLive, 24 February. Digital Spy, 24 December. In Kuortti J ed. Ipswich: Salem Press, 3— Baltimore: Johns Hopkins University Press. Leitch T Adaptation studies at a crossroads.