Análise da adaptação fílmica do romance La piramide di fango, de Andrea Camilleri

Abstract

This research aims to analyze the 2016 film adaptation of the novel The pyramide of mud, written in 2014 by Andrea Camilleri for television. Due to his detective novels, starring Commissioner Montalbano, the author has reached the rank of one of the greatest writers of today and achieving a great projection in the detective novel scene. The triumph of the books with the commissioner created by Camilleri was so great that the Italian TV channel Rai decided to adapt the novels and short stories with the character to television, producing the series called Il commissario Montalbano, which tells the story of commissioner Montalbano, involved in the most varied investigations. The result was that the film adaptation of Camilleri's novels and short stories quickly became a success not only among Italian audiences, but also among international audiences. It is admitted that the filmic adaptation is a form of translation, that is, a way of giving access to the Camilleri text to the spectator through synchronized images and sound. Therefore, the present work aims to analyze through intersemiotic translation how the director/translator sought to present the narrative structures, the construction of the characters, and the Sicilian cultural identity, a characteristic so striking in Camilleri. The results prove that the intersemiotic translation is an excellent creative tool for the film adaptation of a novel and allows the television audience to encounter a new culture, in this case the Sicilian culture, and thus the viewer can find new ways of thinking, acting and seeing the world. As a theoretical basis, we take into consideration the ideas of film adaptation as translation, by Cattrysse (1992) and also authors like Hutcheon (2013), Stam (2000) and Cronin (2009). Regarding the intersemiotic translation, our theoretical foundation will be mainly in Plaza (2003), Santaella (2005) and Eco (2007). As for cultural identity, our theoretical basis will be in Neto & Bezzi (2008) and others. As for Camilleri and his production, we will use researchers such as Trainito (2010), Capecchi (2000), Cerrato (2012), Carvalho (2017), Marrone (2018), among others.