The Infidelity of Using Detective Story Formula in Enola Holmes Film Adaptation
DOI:
https://doi.org/10.31294/wanastra.v16i2.11775Keywords:
comparison, detective story formula, classic formula, hard-boiled formula, infidelityAbstract
Adapting a novel into a movie combines creative art and technical challenges. The film director is required to make the novel story that is lifted to the big screen have uniqueness from creative ideas with limited film duration, various creative interpretations, and commercial interests. The process will result in two-story forms: maintaining the novel's authenticity or changing specific components. Therefore, this research compares Nancy Springer's Enola Holmes novel, published in 2006, and Harry Bradbeer's film adaptation, released in 2020. This comparison is carried out to find the fidelity or infidelity of using the detective story formula in the Enola Holmes film related to the director's creativity and the technical challenges in the adaptation process. Using the descriptive qualitative method and Cawelti's detective story formula theory, the result of data analysis shows that Enola Holmes' novel is classified into the classic detective story formula. At the same time, the movie adaptation is categorized into the hard-boiled detective story formula. This theory is applied through the differences between the focus of the story, the setting, and the role of women. These differences lead to infidelity in using detective formulas that aim to develop and clarify the storyline and make some things more realistic when the novel's story is adapted into a movie that refers to commercial interests and audience satisfaction.
References
Block, B. (2020). The visual story: Creating the visual structure of film, TV, and digital media. Routledge. https://doi.org/https://doi.org/10.4324/9781315794839
Boozer, J. (2008). Authorship in Film Adaptation (J. Boozer (ed.); pp. 1–30). University of Texas Press. https://doi.org/doi:10.7560/702851-002
Cawelti, J. G. (1976). Adventure, Mystery, and Romance. In The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London. https://doi.org/https://doi.org/10.7208/chicago/9780226148700.001.0001
Cresci, M. (2019). Montclair State University Digital Commons The Eternal Detective : Poe ’ s Creative and Resolvent Duality in the Hardboiled Era. Theses, Dissertations and Culminating Projects. 266. https://digitalcommons.montclair.edu/etd/266
Dagalp, I. (2022). Myth Aestheticization. University of Gothenburg.
Darmawan, H. A. (2023). The mystery formulas in Agatha Christie’s novels. Widya Mandala Surabaya Catholic University.
Dr. Nagnath Totawad. (2019). Film Literature: An Overview. March, 43–44.
Elliott, K. (2003). Rethinking the NOVEL / FILM DEBATE. The press syndicate of the university of cambridge.
Hamilton, C. S. (1987). Western and Hard-Boiled Detective Fiction in America: From High Noon to Midnight (First Ed.). Iowa City : University of Iowa Press. https://doi.org/https://doi.org/10.1007/978-1-349-08390-9
Hyon, S. (2017). Introducing genre and English for specific purposes. Routledge. https://doi.org/https://doi.org/10.4324/9781315761152
Mandal, T., Panda, S., & Bhattacharjya, T. K. (2022). From Literature to Cinema : A Critical and Literary Study on the Film Adaptation of The Namesake From Literary Composition to Cinematic Adaptation A Study of Cinema through Literature from Indian Perspective Edited by Dipak Giri. July.
Mastandrea, S., Tinio, P. P. L., & Smith, J. K. (2021). Editorial: Environment, Art, and Museums: The Aesthetic Experience in Different Contexts. Frontiers in Psychology, 12(April), 10–12. https://doi.org/https://doi.org/10.3389/fpsyg.2021.675165
Miller, W. R. (1999). Cops and Bobbies: Police Authority in New York and London, 1830-1870. Ohio State University Press. https://books.google.co.id/books?id=25vyAAAAMAAJ
Monteith, M. J., Burns, M. D., & Hildebrand, L. K. (2019). 11 - Navigating successful confrontations: What should I say and how should I say it? (R. K. Mallett & M. J. B. T.-C. P. and D. Monteith (eds.); pp. 225–248). Academic Press. https://doi.org/https://doi.org/10.1016/B978-0-12-814715-3.00006-0
Mustopa, J., & Sudarisman, Y. (2022). Representation of Hard-Boiled Detective Formula in the Batman (2022) By Matt Reeves. Saksama, 1(1), 31–50.
Neisya, N. (2021). Woman’s struggle towards stereotypes in The case of the missing marquess: An Enola holmes mystery. Elite: English and Literature Journal, 8(2), 54–65.
Perdikaki, K. (2018). Film adaptation as the interface between creative translation and cultural transformation: The case of Baz Luhrmann’s The Great Gatsby. Journal of Specialised Translation, 29, 169–187.
Pope, L. (2020). Suiting the action to the word: examining genre film remediations of Shakespeare’s plays. University of Reading.
Reavy, K. (2016). Inquiry and leadership: A resource for the DNP project. FA Davis.
Sakti, M. T. N. (2021). Film adaptation of the main character’s struggle in Nick Hornby’s High Fidelity. Universitas Islam Negeri Maulana Malik Ibrahim.
Sarah, R. (2022). Representation of Feminism on the Character of Enola Holmes in the Enola Holmes Film: John Fiske’S Semiotics Analysis. Bahas, 33(2), 100. https://doi.org/https://doi.org/10.24114/bhs.v33i2.35555
Seth, S., Chadha, N. K., & Bhatia, H. (2022). Qualitative Methods: A Practical Journey into Research. Friends Publications (India).
Silva Ramos, E. (2022). The Classical Detective Story Formula from Literature to Videogames. 238–244. https://doi.org/https://doi.org/10.5753/sbgames_estendido.2021.19644
Snyder, M. H. (2011). Analyzing literature-to-film adaptations: a novelist’s exploration and guide. Bloomsbury Publishing USA. https://doi.org/https://doi.org/10.5040/9781628928525
Springer, N. (2006). Enola Holmes: The Case of the Missing Marquess: An Enola Holmes Mystery (Vol. 1). Penguin.
Stam, R. (2017). Film theory: An introduction. John Wiley & Sons.
Syahriyani, A., & Novikasandra, M. K. (2022). Feminism in Enola Holmes Film: A Semiotic Lens. Elit. English Lit. J, 9(2), 215–229. https://doi.org/https://doi.org/10.24252/elite.v9i2.32298
Tan, E. S. (2018). A psychology of the film. Palgrave Communications, 4(1). https://doi.org/Tan, E. S. (2018). A psychology of the film. Palgrave Communications, 4(1). https://doi.org/10.1057/s41599-018-0111-y https://doi.org/10.1057/s41599-018-0111-y
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Irbatun Sabani, Imas Istiani
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
All articles published in Wanastra: Jurnal Bahasa dan Sastra are licensed under the Creative Commons Attribution 4.0 International License (CC BY 4.0).
Under this license, authors retain copyright of their work and grant others the right to:
-
Share — copy and redistribute the material in any medium or format
-
Adapt — remix, transform, and build upon the material for any purpose, even commercially
Terms of Use:
Users are free to use the material under the following conditions:
-
Attribution — Proper credit must be given to the original author(s) and the source, a link to the license must be provided, and any changes made must be indicated.
-
No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
The full license details can be accessed at: https://creativecommons.org/licenses/by/4.0/
By submitting to Wanastra: Jurnal Bahasa dan Sastra, authors agree to these licensing terms.
