Transcription
Good afternoon everyone. So today we are going to discuss about self and peer assessments of literary text creative adaptation. That means we will be talking about the different levels of creative adaptation and also the self and peer assessment, which is connected with how you assess a specific adaptation from its original literary text.
So now, let's start by understanding this through the given pictures. So first, here you can see that, okay, this one, as you can see, we have here the original book of Harry Potter and the Order of the Phoenix. So this is the original novel from J.K. Rowling. And from the first image, this book, or the original book, is being adapted into a movie or a series, Harry Potter and the Order of the Phoenix, using the creative minds and artistic process of the directors and the writers. But the original one is this novel from J.K. Rowling. What does it mean? Yeah, it's possible to adapt, but there are some changes, most specifically with the use of technology, with other aspects like the universal one, um, we call this of the commentary with regards to art. So the following changes can also be considered when it comes to adaptations, and that is what we are going to encounter and understand for today.
Now, let's focus more with our literary adaptation. So when I say literary adaptation, it's a process of adapting a literary source. For example, we have here the novel, the short story, and the poem. But you want this literary text to be transformed into a different genre or medium. For example, you want this novel to become a film, or you want this short story as a part of a video game, and so on and so forth. So we call it literary adaptation. It actually involves adapting the same literary work in the same genre or medium, just for the purpose of working in a smaller cast or a smaller venue, or on the road, or for a different demographic group, such as adapting a story for children. We have different purposes why we adapt, and sometimes these purposes are the reasons why we sometimes change the content and the purpose of the author why they have written that specific piece. But those things are uncontrollable at times because people have different purposes. So the original author has its own purpose why they have written that, and the adaptation has a different purpose also. Why that is why we have adaptation because we have a different purpose why we try to transform the original text into a different genre.
So let's now continue to the next page. Okay. Okay. So this time, we are going to talk about the four types or levels of adaptations by Watch 2020. So the first level is the museum. From its word, museum, it's very historical, right? It's like preservation. That's why there's a word preserving. We are trying to preserve every possible detail of the book, exactly how it is. So how original it was, you have to preserve that. That's why it's called the museum. It's transmitted to the film as a medium. So what happened here in the museum kind of adaptation, um, the genre, for example, you, the film or the movie, we wanted to adapt the book into a film. What happened is that the film only becomes a medium, but the content is really original. It's like adopted. It's just adopted into a movie, okay? And all the contents, almost all of the contents were very much original from what is inside the book. Merely the film is just a medium to show or to present the book. That is what we called museum. Okay, I hope you understood that. Let's now continue with the next one.
So the next type is the artful. So at least there are a few changes when it comes to the artful because here you are trying to find balance between being true to its own as a work of art. So we try to still base from the original book, but still we try to look at the perspective of art accordingly. It's like a conversation between the book and the audience. If you can still remember our reader response approach. So in this case, um, in this kind of adaptation, we are trying to understand both the perspective of the book and the audience. So in order to understand that, then we have to go back to the reader response approach itself. And for this kind of adaptation, we are trying to find the essential elements of the book and interpret them in a way that is meaningful for the audience. It's because the audience are the ones who will interpret and understand the movie, the film, or the adaptation. That's why it's not always harmful if we try to consider also if our adaptation is relevant to our target audience. That's why the artful kind of adaptation is very much important with in connection, I mean, with the reader response approach. Okay, I hope that's very clear to all of us here. So let's now continue with the third one.
And the third one is the loose. From its word, the loose, uh, it's free because it's on loose. It's free when it comes to putting anything that you want in your adaptation. But do not forget that you still base from our literary text. Instead, it keeps a few elements or some resemblance of the premise of the book, but it's based on. But then more or less does its own thing with them. So if the museum and the art is still basing, at least with the original content of the text, but here on the loose, maybe 70% uh, the adaptation is being adapted. There are big changes from the original one, and then 30% from the few elements from or resemblance from the book, actually, yes. It's often discussed in negative terms because there will be commentaries like, it's really not like the book, did not follow what's in the content. It lacks exact similarity to its source material. Oh, it failed. I don't like the characters. I don't like the actors. It does not resemble the description from the book. So on and so forth. It's a failure. But actually, this kind of adaptation is accepted, most especially with when it comes to the freedom of expression. But don't worry, um, the ones who do the adaptations of the loose actually ask the author himself or herself if they can do this kind of adaptation. Okay.
So let's continue to the last kind of adaptation, and that is the transformative. Okay, this one seeks to highlight the timelessness and universality of their source works, messages, and themes. So if we try to connect this with the approach that we discuss, so it's very much connected with new historicism and the reader response approach. So we are trying to highlight if the text is becoming universal because we cannot hide the fact that, for example, texts in history reflect that specific time, but it might not be relevant in today's time. That's why the transformative type of adaptation is being accepted in the world of creative literary adaptation. Just take as an example from, um, from the series of Maria Clara, I don't know, it's from the GMA, Maria Clara and Ibara, where their character is Barbie Forteza and Dennis Trillo and the other actors. I know that you're familiar with that. So that kind of adaptation is actually transformative. So from the book of Noli and Fili, they do not just use the adaptation of the museum, but they try to transform and relate that in today's time. So giving lessons like, um, Klay, do not remember how, um, the characters of, or what the book of Noli and Fili is. So she was transported into the past, and there she tries to put changes to the characters' situations. That's actually transformative because although that's very historical, the book is historical and reflects the past experiences of the people during the Spanish period. Still, it's being connected in today's time. The problems yesterday were still happening right now. So that series was trying to inculcate to us that still the problems before is still timely, and that text still highlights universality and timelessness. So I hope you understood this part. Okay.
So let's now continue to this one. So according to my, my, we can't improve what we don't assess. Remember this, in adaptations, you need to know the literary text very much. Although we have this kind of the loose as the adaptation, remember, you need to know what really the text is all about. You cannot make an effective adaptation unless you know how to assess it. You know how to check if this is good. I can add this to my adaptation. Should I change this? Should I not? So that's why we have what we so-called, um, self-assessment and peer assessment. Yes, that actually happened not just for examinations or answers in essays or objective tests, but self-assessment and peer assessment is also very much useful with creative literary adaptations. First of all, we have the self-assessment, or the act or process of analyzing and evaluating oneself or one's actions. And in the context of creative literary adaptations, you, as a person, know if the adaptation is good or not, if you have the standards. That's why we have discussed the four levels of adaptations for you to know if, as a reader of that book or of that text, does the adaptation insert the things that you need to see from that specific adaptation. That's why you put a checklist of that.
Now, we also have here the peer assessment review. So, just like peer, it's also peer review. It provides a structured learning process. Okay. And what do we call this? And the students to critique and provide feedback to each other on their work. So, for example, you now have creative literary adaptations of, uh, what do you call this one? Our text, The Rich People Problems by Kevin Kwan. So I know you have different kinds of adaptations just from the four levels. So if you try to your classmates to evaluate that, then they will provide different comments based also from their own perspectives because they have also done their self-assessment from that creative literary adaptation. So that's it for my discussion today. Thank you so much for listening and have a great time. Please keep safe and please accomplish your final performance task. Thank you so much for today. Goodbye.