{"id":{"repo_id":"adelaide","oai_identifier":"oai:digital.library.adelaide.edu.au:2440/112134"},"canonical_url":"https://search.dev.ndltd.org/etd/adelaide/oai:digital.library.adelaide.edu.au:2440/112134","repository":{"repo_id":"adelaide","name":"University of Adelaide","base_url":"https://digital.library.adelaide.edu.au/server/oai/request"},"display":{"title":"'Disquiet' novella and screenplay : adaptation and creative hybridity","abstract":"The major creative work of this thesis consists of ‘Disquiet’, the novella and the screenplay. It is a twice-told tale. In the exegesis I explore the writing practice of working between two narrative forms. To do this I begin by establishing that the traditional focus of adaptation studies has been book-to-film adaptation. Within this field the issue of ‘fidelity’ has been a dominant concern although it is hard to find any scholar who is actively arguing for fidelity. I look at types of adaptation and then outline some possible new directions for adaptation studies. I pay attention to two areas that adaptation studies have largely overlooked and which are pertinent to ‘Disquiet’: the screenplay and the novelisation. Having loosely situated ‘Disquiet’, the novella, within the experimental end of the novelisation continuum I then develop the concept of the creative hybrid. I revisit the assumption that where there are two creative works based on the same story then one work must have come into being before the other. I also query whether the term ‘adaptation’ is appropriate to describe the creative process for hybrids. I look at other modes of speaking about ‘adaptation’ proposed by recent scholars and venture some terms of my own. Turning to the case studies I first make the case for why Graham Greene’s novella The Third Man – which was written before his screenplay for a film of the same name – does in fact sit on the continuum of novelisations and/or could be called a hybrid. The second case study is Pier Paolo Pasolini’s so-called novel, Theorem. The third case-study is Ingmar Bergman’s hybrid text, The Best Intentions. I then address ‘Disquiet’ in both its forms, highlighting the writing practices I adopted. I conclude that ‘Disquiet’ does not readily fit within either book-to-film adaptation or novelisation. I suggest that acknowledgment of creative hybrids invites a deeper understanding of the practice of adaptation.","abstract_html":"The major creative work of this thesis consists of ‘Disquiet’, the novella and the screenplay. It is a twice-told tale. In the exegesis I explore the writing practice of working between two narrative forms. To do this I begin by establishing that the traditional focus of adaptation studies has been book-to-film adaptation. Within this field the issue of ‘fidelity’ has been a dominant concern although it is hard to find any scholar who is actively arguing for fidelity. I look at types of adaptation and then outline some possible new directions for adaptation studies. I pay attention to two areas that adaptation studies have largely overlooked and which are pertinent to ‘Disquiet’: the screenplay and the novelisation. Having loosely situated ‘Disquiet’, the novella, within the experimental end of the novelisation continuum I then develop the concept of the creative hybrid. I revisit the assumption that where there are two creative works based on the same story then one work must have come into being before the other. I also query whether the term ‘adaptation’ is appropriate to describe the creative process for hybrids. I look at other modes of speaking about ‘adaptation’ proposed by recent scholars and venture some terms of my own. Turning to the case studies I first make the case for why Graham Greene’s novella The Third Man – which was written before his screenplay for a film of the same name – does in fact sit on the continuum of novelisations and/or could be called a hybrid. The second case study is Pier Paolo Pasolini’s so-called novel, Theorem. The third case-study is Ingmar Bergman’s hybrid text, The Best Intentions. I then address ‘Disquiet’ in both its forms, highlighting the writing practices I adopted. I conclude that ‘Disquiet’ does not readily fit within either book-to-film adaptation or novelisation. I suggest that acknowledgment of creative hybrids invites a deeper understanding of the practice of adaptation.","abstract_has_math":false,"creators":["Leigh, Julia Marion"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Butterss, Philip","Jose, Nicholas"],"committee_chairs":[],"committee_members":[],"year":2009,"date_issued":"2009","date_published":"2009","updated_at":"2026-07-24T00:50:34Z","subjects":["novella","screenplay"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["10.4225/55/5afb80e6a2196"],"render_values":[{"text":"10.4225/55/5afb80e6a2196","href":"https://doi.org/10.4225/55/5afb80e6a2196","code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2440/112134","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Butterss, Philip","Jose, Nicholas"]},{"key":"dc:creator","label":"Author","values":["Leigh, Julia Marion"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2009"]},{"key":"dc:type","label":"Dc Type","values":["Theses"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["novella","screenplay"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.doi","label":"DOI","values":["10.4225/55/5afb80e6a2196"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/2440/112134"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["[Pt. 1] Novella: Disquiet -- [Pt. 2] Screenplay: Disquiet -- [Pt. 3] Exegesis: Adaptation and creative hybridity"]},{"key":"dc:description.abstract","label":"Abstract","values":["The major creative work of this thesis consists of ‘Disquiet’, the novella and the screenplay. It is a twice-told tale. In the exegesis I explore the writing practice of working between two narrative forms. To do this I begin by establishing that the traditional focus of adaptation studies has been book-to-film adaptation. Within this field the issue of ‘fidelity’ has been a dominant concern although it is hard to find any scholar who is actively arguing for fidelity. I look at types of adaptation and then outline some possible new directions for adaptation studies. I pay attention to two areas that adaptation studies have largely overlooked and which are pertinent to ‘Disquiet’: the screenplay and the novelisation. Having loosely situated ‘Disquiet’, the novella, within the experimental end of the novelisation continuum I then develop the concept of the creative hybrid. I revisit the assumption that where there are two creative works based on the same story then one work must have come into being before the other. I also query whether the term ‘adaptation’ is appropriate to describe the creative process for hybrids. I look at other modes of speaking about ‘adaptation’ proposed by recent scholars and venture some terms of my own. Turning to the case studies I first make the case for why Graham Greene’s novella The Third Man – which was written before his screenplay for a film of the same name – does in fact sit on the continuum of novelisations and/or could be called a hybrid. The second case study is Pier Paolo Pasolini’s so-called novel, Theorem. The third case-study is Ingmar Bergman’s hybrid text, The Best Intentions. I then address ‘Disquiet’ in both its forms, highlighting the writing practices I adopted. I conclude that ‘Disquiet’ does not readily fit within either book-to-film adaptation or novelisation. I suggest that acknowledgment of creative hybrids invites a deeper understanding of the practice of adaptation."]},{"key":"dc:title","label":"Title","values":["'Disquiet' novella and screenplay : adaptation and creative hybridity"]}]}],"canonical_facts":{"dc:contributor.advisor":["Butterss, Philip","Jose, Nicholas"],"dc:creator":["Leigh, Julia Marion"],"dc:date.issued":["2009"],"dc:description":["[Pt. 1] Novella: Disquiet -- [Pt. 2] Screenplay: Disquiet -- [Pt. 3] Exegesis: Adaptation and creative hybridity"],"dc:description.abstract":["The major creative work of this thesis consists of ‘Disquiet’, the novella and the screenplay. It is a twice-told tale. In the exegesis I explore the writing practice of working between two narrative forms. To do this I begin by establishing that the traditional focus of adaptation studies has been book-to-film adaptation. Within this field the issue of ‘fidelity’ has been a dominant concern although it is hard to find any scholar who is actively arguing for fidelity. I look at types of adaptation and then outline some possible new directions for adaptation studies. I pay attention to two areas that adaptation studies have largely overlooked and which are pertinent to ‘Disquiet’: the screenplay and the novelisation. Having loosely situated ‘Disquiet’, the novella, within the experimental end of the novelisation continuum I then develop the concept of the creative hybrid. I revisit the assumption that where there are two creative works based on the same story then one work must have come into being before the other. I also query whether the term ‘adaptation’ is appropriate to describe the creative process for hybrids. I look at other modes of speaking about ‘adaptation’ proposed by recent scholars and venture some terms of my own. Turning to the case studies I first make the case for why Graham Greene’s novella The Third Man – which was written before his screenplay for a film of the same name – does in fact sit on the continuum of novelisations and/or could be called a hybrid. The second case study is Pier Paolo Pasolini’s so-called novel, Theorem. The third case-study is Ingmar Bergman’s hybrid text, The Best Intentions. I then address ‘Disquiet’ in both its forms, highlighting the writing practices I adopted. I conclude that ‘Disquiet’ does not readily fit within either book-to-film adaptation or novelisation. I suggest that acknowledgment of creative hybrids invites a deeper understanding of the practice of adaptation."],"dc:identifier.doi":["10.4225/55/5afb80e6a2196"],"dc:identifier.uri":["http://hdl.handle.net/2440/112134"],"dc:subject":["novella","screenplay"],"dc:title":["'Disquiet' novella and screenplay : adaptation and creative hybridity"],"dc:type":["Theses"]},"updated_at":"2026-07-24T00:50:34Z"}