Here, special attention will be paid to notions of construction, artifice and art, which become important in a threefold way: as self-conscious thematic instances in Bechdel's narrative, as prevalent elements of understanding the self in postmodern autobiography theory, and as inherent traits of the Gothic mode. In addition to analysing these parallels, the article will demonstrate how the very act of autobiographical remembrance and reconstruction can be perceived as Gothic. However, Fun Home offers more than one way of reading it as a Gothic narrative: not only are there distinctly Gothic elements in Bechdel's description of her family life and home, its basic structure circles around themes of death, trauma, Otherness and the past, ideas central to the Gothic. At first glance, connecting the perceived authenticity of the autobiographic mode with the obvious artifice of Gothic fiction seems counter-intuitive. This article will propose another point of access to Bechdel's intricately constructed family story: putting it in the context of the Gothic mode. Critics have highlighted the text's complexity, focussing particularly on Bechdel's diligent graphic attempt to reconstruct her family life, as well as her recurrent intertextual references, and the examination of gender roles entailed by her and her father's respective homosexuality.
Despite its relatively recent publication, it has already attracted much scholarly attention. Rather than disproving it, Sin City is an exception that nuances Hutcheon’s interpretation of adaptation because of three main elements to its creation: the ‘multitrack’ nature of the graphic novel the relationship between the graphic novel and film and the concept that the translation between Miller’s work and the film is seen by the director as a translation rather than an adaptation.Īlison Bechdel's Fun Home: A Family Tragicomic (2006), an account of Bechdel's life with her father, is one of the most renowned contemporary autobiographical comics. This cinematic adaptation marketed itself as a faithful transition that imitated Miller’s art style, arguably the essence of Sin City, on screen through heavy use of CGI and chroma keying, and the fact that Rodriguez’ was so successful in replicating the graphic novel challenges Linda Hutcheon’s definition of adaptation as “repetition without replication” (xviii). While the adaptation of a comic book to film was not a particularly new concept at that time - film audiences had already been exposed to Tim Burton’s Batman films and Terry Zwigoff’s Ghost World - Sin City exploited a new niche: fidelity.
In 2005, Robert Rodriguez adapted Frank Miller’s renowned graphic novel Sin City onto the silver screen.
0 kommentar(er)
