Authoral labyrinths: the film adaptation of In the tall grass, by Stephen King and Joe Hill

Abstract

This paper aims to carry out a study on the adaptive strategies used in the remediation process of the short story “In the tall grass” (2012), by Stephen King and Joe Hill, to the cinematic language of streaming. To this end, we propose to do an immanent reading based on the formal and thematic aspects of the two works: changes and permanence of narrative elements, formal and symbolic continuities and ruptures, in addition to the choices and cinematographic language resources mobilized by the adapter Vincenzo Natali, as well as their (possible) motivations. For that, we are based on the theories about the adaptation process proposed by Stam (2000), Bolter and Grusin (2000), Ondaatje (2002) and Hutcheon (2013). Based on the analysis, we conclude that, with the task of not only reconfiguring a literary work for the audiovisual engagement mode, but, in addition, expanding a short narrative to a full length feature film, Natali uses strategies related to the adaptability of the source material and the market acceptability of his film, namely: expanding the roles of secondary and tertiary characters; adding an archetypal hero as the main protagonist; expanding the story's scenarios, inserting sci fi and slasher horror tropes. In addition, many elements of cinematographic syntax are used to convey to the screen the tension and oppression of the locus horribilis portrayed in the short story, such as: aerial shots of the tall grass; extreme close-ups in pieces of nature; open frames to establish the location of the characters.