Adapting Feature Films from Amharic Prose Narratives: Narrative Strategies in Focus.
| dc.contributor.advisor | Tena Shale (PhD) | |
| dc.contributor.author | Bezabhe Tesfahunegn | |
| dc.date.accessioned | 2024-05-20T10:18:51Z | |
| dc.date.available | 2024-05-20T10:18:51Z | |
| dc.date.issued | 2020-04 | |
| dc.description.abstract | Studying the relationship between Amharic feature film adaptation and their source prose narratives is a neglected field of study in the academia of Ethiopia. The absence of study in the area in the academia of Ethiopia confirms the existence of the problem. The major rationale behind this study is to explore and analyze three narrative strategies, namely narrative time, voice and focalization, in adapting Amharic feature films from Amharic prose narratives. The study is conducted on two Amharic adapted films from two Amharic prose narratives. The two adapted films are ‗Yenegen Alweldim‟ directed by Abreham Gezahagn and ‗Kalkidan‟ directed by Shimles Abera and the two source prose narratives are respectively ‗EHAPA ena Sport‟ by Genene Mekuira and ‗Kalkidan‟ by Getachew Ayalkie. Qualitative literary analysis is employed by using narratology as a theoretical framework to analyze the aforementioned three narrative strategies in both the adapted films and in their source prose narratives. The approaches proposed by major narratologists, namely Gerard Genette ([1972] 1980), Seymour Chatman (1978 and 1990), Mike Bal (1985), David Bordwell (1985), Manfred Jahn (2003) and David Bordwell and Kirstin Thompson (2013), have been used to approach the applicatuion of the three narrative strategies and transference from the source prose narratives to the adapted films. Aspects of narrative time, namely order, duration and frequency, are analyzed and the results show that they play a crucial role as narrative strategies in the arrangement of the narratives of all the four texts. From the analysis of narrative voice, the study found out that different types of narrators (namely heterodiegetic, homodiegetic, extradiegetic, intradiegetic and metadiegetic narrators) are employed in the two prose narratives. Regarding the adapted films, the four fundamental elements of narrative film (namely mise-en-scene, cinematography, sound and editing) are the narrators. Thus, narrative voice is another narrative strategy in all of the four texts. From the analysis of focalization, the study found out that all of the aforementioned narrators of both the prose narratives and the adapted films are responsible in orienting the audiences‘ vision or access to the story worlds in all of the four texts accordingly. Hence, focalization is the third narrative strategy in all of the four texts. Then, the above findings reveal that the three narrative strategies are transferred from the source prose narratives to the adapted films and thus these narrative strategies transcend the boundary between genre and medium distinctions. Finally, the study also found out that these narrative strategies are omnipresent in all of the four texts in spite of their differences in genre and medium | |
| dc.identifier.uri | https://etd.aau.edu.et/handle/123456789/2990 | |
| dc.language.iso | en_US | |
| dc.publisher | Addis Ababa University | |
| dc.subject | Amharic feature film | |
| dc.title | Adapting Feature Films from Amharic Prose Narratives: Narrative Strategies in Focus. | |
| dc.type | Thesis |