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• W7094300 abstract "The novel has three tenses [past, present, future]; has only one [the present tense]. From this follows almost everything else one can say about in both media. -George Bluestone (48) It was over forty years ago that George Bluestone, in his seminal comparison of literature with film, famously proposed above thesis. This neat summation of ways in which literature and represent tense was eagerly accepted and developed by other writers, and has endured almost unchallenged within literature-film adaptation studies. Robbe-Grillet, in 1962, wrote, the essential characteristic of image is its presentness. Whereas literature has a whole gamut of grammatical tenses ... by its nature we see on screen is in act of happening, we are given gesture itself, not an account of it (12). Over thirty years later, McFarlane's important book Novel to Film still maintains that cannot present action in past as novels chiefly do (29). Despite lapse of almost forty years between first and last statements conviction stands: cannot use any tense other than present one; literature has potential to represent events in a range of tenses. Film is thus often described as being restricted to an present tense. Yet, as Bluestone's statement implies, this notion of film's eternal presentness is not restricted to its representation of tense (a feature of narrative which locates events chronologically within narrative)-it is also extended to constitute a broader conceptualization of temporality. The term temporality indicates film's relationship(s) with other kinds of time. Bluestone delineates two kinds of time: measured in more or less discrete units (as in clocks and metronomes); and psychological time, which distends or compresses in consciousness, and presents itself in continuous flux (48-49). Of course, chronological time incorporates both specific moments (3:45 p.m. on Thursday, for example) and duration (two years, such as from 1977 to 1979). Bluestone advances thesis that and literature represent tense (narrative time), (real-life time), and psychological differently, and with differing degrees of success. Robbe-Grillet conflates tense with when he describes presentness of image not simply in terms of tense but in terms of real-life time: what we see on screen is in act of happening. This extension of notion of film's presentness beyond its representation of tense to a conceptualization of the filmic (and its unique temporality) is ghost of medium specificity that haunts adaptation studies, still. Medium specificity, which includes claims for temporal uniqueness of a medium, is a problematic concept for adaptation and theorists, and has traced a troubled trajectory through adaptation and studies, for reasons I will discuss shortly. There are ostensibly good reasons for endurance of some theorists' conviction in film's eternal, inherent present tense and I will explore these below. However, I shall then go on to reveal anomalies, false analogies, and logical elisions within presentness thesis, and argue instead for a more complex understanding of tense and a deeper appreciation of art. In terms of this last concern, my (ontological) approach can be situated amongst others that regard as film or as art. In this article I focus primarily on tense-only one aspect of temporality, but one particularly relevant to literature-film adaptations-but I also open up a tentative investigation of cognitive links between real time of viewing and viewer's perception of tense (our perception of tense is best explored within perceptual and cognitive terms, rather than, for example, psychoanalytic or ideological terms). 1 Finally, I shall look at an example of manipulation of tense and of Bluestone terms and psychological time, taken from Lolita (Dir. …" @default.
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• W7094300 date "2003-01-01" @default.
• W7094300 modified "2023-09-26" @default.
• W7094300 title "About Time: Theorizing Adaptation, Temporality, and Tense" @default.
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