This article considers the example of Andrew Davies’ 2008 adaptation of Charles Dickens’ Little Dorrit as a means by which to identify his ‘recognizable authorial voice’. When Davies refashioned this text for a millennial audience in a different medium and under the influence of the ‘canonical’ norms of classic novel adaptations, he necessarily confronted the Dickensian text with contemporary insights. This is evident in the way Davies subsequently adapts the Dickensian plot and, in particular, the character of Amy Dorrit. As the analysis of this essay shows, the TV series demonstrates Davies’ skills and distinctive authorial voice, with its characteristic ‘detached sympathetic irony’.
Little Dorrit and adaptation / Falchi, Simonetta. - In: JOURNAL OF ADAPTATION IN FILM & PERFORMANCE. - ISSN 1753-6421. - 10:1(2017), pp. 43-53. [10.1386/jafp.10.1.43_1]
Little Dorrit and adaptation
FALCHI, Simonetta
2017-01-01
Abstract
This article considers the example of Andrew Davies’ 2008 adaptation of Charles Dickens’ Little Dorrit as a means by which to identify his ‘recognizable authorial voice’. When Davies refashioned this text for a millennial audience in a different medium and under the influence of the ‘canonical’ norms of classic novel adaptations, he necessarily confronted the Dickensian text with contemporary insights. This is evident in the way Davies subsequently adapts the Dickensian plot and, in particular, the character of Amy Dorrit. As the analysis of this essay shows, the TV series demonstrates Davies’ skills and distinctive authorial voice, with its characteristic ‘detached sympathetic irony’.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.