As faces de Daisy Buchanan em The Great Gatsby no cinema

Abstract

The subject of this work is intersemiotic translation, specifically literature to cinema. The interest in this issue arose due to the constant increase of cinematographic productions starting from literary works, which makes relevant and necessary a more diligent study on translation between the varied media. Here was performed an analysis of the three film translations of the book written by F. Scott Fitzgerald, The Great Gatsby, from 1949, 1974 and 2013, directed respectively by Elliott Nugent, Jack Clayton and Baz Luhrmann, focusing on one of the central characters, Daisy Buchanan . The Great Gatsby is considered a literary classic, and makes a harsh criticism of the individualistic society of the twenties. In this work, it was analyzed in which of its cinematographic translations this criticism is present, how, and what strategies of translation were used by the directors to take that specific aspect of the work to the screens. Fitzgerald mainly uses the character of Daisy Buchanan to show this criticism, and for that reason I chose her as the focus of this work. This analysis looked for some researches of the Translation Studies such as Lefevere (1992), Toury (1996), Even-Zohar (1996) and Plaza (2003). Also theorists of literature and cinema as Carrière (1994), Davi (2005), Jakobson (1991), Johnson (2003), Martin (2003), Pellegrini (2003) and Xavier (2003), among others, to be able to identify the translation strategies used by the directors of the film versions and to analyze the process that permeates the translation of a literary work to the cinema.