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date: 21 March 2019

Abstract and Keywords

By observing the authorial intentions on the part of the novelist and the adapted film’s producer, screenwriter, director, and cast, Chapter 11 examines the intratextual process at work in the transformation of Philip Roth’s novella The Dying Animal to the big screen as Elegy. The notion of serial authorship can capture the creative interaction of intentions characteristic of the multi-source nature of film adaptation, whose products serve two texts: the source literary work and the screenplay derived from it. The essay considers the hints of Roth’s personal views and autobiography implied through his narrator, David Kepesh, and this character’s relationships with women, as well as through the implied author’s own position as a writer—a self-conscious status the film does not engage.

Keywords: film, adaptation, intention, Philip Roth, The Dying Animal, Elegy

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