This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in... more This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelit...
This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger... more This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a 'subject' or short melodic phrase and its various 'answers'-in other words, variations that maintain elements of the melody but also play with and revise it-how might we position the film as a variation on, rather than a reproduction of, Caspary's novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn't want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film-not simply the dialogue but also the voiceover narration and David Raksin's groundbreaking score-allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances t...
This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in... more This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a 'subject' or short melodic phrase and its various 'answers'-in other words, variations that maintain elements of the melody but also play with and revise it-how might we position the film as a variation on, rather than a reproduction of, Caspary's novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn't want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film-not simply the dialogue but also the voiceover narration and David Raksin's groundbreaking score-allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works' feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.
This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in... more This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelit...
This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger... more This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a 'subject' or short melodic phrase and its various 'answers'-in other words, variations that maintain elements of the melody but also play with and revise it-how might we position the film as a variation on, rather than a reproduction of, Caspary's novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn't want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film-not simply the dialogue but also the voiceover narration and David Raksin's groundbreaking score-allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances t...
This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in... more This essay analyzes Vera Caspary's novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a 'subject' or short melodic phrase and its various 'answers'-in other words, variations that maintain elements of the melody but also play with and revise it-how might we position the film as a variation on, rather than a reproduction of, Caspary's novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn't want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film-not simply the dialogue but also the voiceover narration and David Raksin's groundbreaking score-allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works' feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.
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