Reparação por meio da escrita: a adaptação da metaficção em Atonement, de Ian McEwan, para o cinema

Abstract

This research analyses how metafictional elements in the novel Atonement (2001), by the writer Ian McEwan – whose translation, Reparação, was published in Brazil in 2002 – were translated into the cinematographic medium in the film adaptation Atonement (2007), directed by Joe Wright. In his work, McEwan uses metafiction to elaborate his narrative through language and dialogue with the reader. The author leads the reader to become aware of the process of fictional literary creation through the character Briony, especially due to her aspiration to manipulate people and events by means of fictional creation. We discuss the emergence of studies on metafiction, relating its representativeness in the contemporary English literature. An overview of the author Ian McEwan's journey as a writer was provided in order to understand metafiction in his overall work. For the analysis, excerpts were addressed in the written work where it was possible to verify the manifestation of metafiction in its various nuances. For the metafiction approach, we used Hutcheon (2013), Waugh (1984) and Bernardo (2010). About the narrative theories, we take as a base Lodge (2017), Lajolo and Zilberman (1988), and Barthes (2012). Concerning the studies on film adaptation as translation we base them on Cattrysse (1992) and Tápia (2015). Regarding intersemiotic translation we bring Plaza (2003). We deal with Even-Zohar's Polysystem Theory (1990); and with Lefevere's rewriting concept (2007). In order to discuss McEwan’s works, we approach Escoza (2016), Martin (1987) and Childs (2006). Regarding studies about cinema, we used Martin (2013), Burch (2015) and Bazin (2017). For the analysis of the filmographic work, cinematic segments were selected for the perception of metafiction, it was also observed which cinematographic strategies were used so that such element, so relevant to the development of the narrative in the novel, could be presented in the film. The results showed that certain cinematographic strategies – such as camera perspective and angles, the use of different frames, flashback, flashforward, ellipsis, metaphor, transition features between the scenes, lighting, in addition to the sound feature and the musical score, which had relevant role – were essential so that metafiction, even as a notably literary resource, was present in the film adaptation.