THE INTERSEMIOTIC TRANSPOSITION OF STREAM OF CONSCIOUSNESS IN THE SCREEN ADAPTATION OF THE NOVEL THE HOURS

Abstract

This article establishes an intersemiotic comparative relationship between the literary work The Hours (1999), written by Michael Cunningham, and its homonymous cinematographic adaptation, directed by Stephen Daldry (2002), with the aim of analyzing how the stream of consciousness present in the novel is transposed to the screen. For this purpose, we adopt an approach that considers absolute fidelity between film and romance “unfeasible”, since literature and cinema consist of two distinct semiotic systems. This current of thought proposed by Brito (2006) and Stam (2006; 2008), in a dialogical perspective, faces the adapted film as an autonomous product and a recreation of the literary work. It is observed, finally, that the film adaptation of The Hours, having its own mechanisms of representation, achieves aesthetic results similar to those of the novel