Abstract
When a novel is adapted into a film, the first stage of that process is the screenplay. The screenwriter considers ways to visualise the interiority of the novel such that it can be filmed and made visible. She writes for a small readership of technically proficient creative crew, such as the cinematographer, whose job it will be to visualise the internal of the screenplay words. As a trained cinematographer wanting to investigate this pre-production stage of filmmaking,I sought permission from one of Australia’s acclaimed novelists, Rodney Hall, to use his novel Love Without Hope to adapt into a feature length screenplay. What started as practice led research into how the interiority of a novel could be visualised, becamea creative high jacking of Hall’s plot and characters,as I gave myself permission to follow threads in the novel that triggered something in me, not just as a woman, but also about my country, Australia, coming to terms with its past. This paper looks at creative practice and process, and the role of self in the decision making and emotional reactions to source material when adapting a novel to a screenplay.

Author Name: Susan Thwaites

URL: View PDF

Keywords: Novel to Film Adaptation, Screenwriting, Cinematography, Visualising the Internal, Intermediality.

ISSN:

EISSN: 2581-9526

EOI/DOI:

Add Citation Views: 1

---