![]() The second part of the article then focuses on adaptations which illustrate this theoretical perspective, that is, two film adaptations (released in 1956 and in 1984 respectively) and the recent theatre adaptation (released in 2013), while also discussing Terry Gilliam’s film Brazil (1985) as an appropriation of Nineteen Eighty-Four. 1 Does adapting an anti-utopia further strengthen its myth of sheer closure, or does it create a kind of an anti-utopia with a difference? This article first aims to establish the theoretical position in adaptation studies while discussing Orwell’s novel itself as an appropriation of several precursory novels. This is surely epitomised by the core image which the novel provides, that is, “a picture of the future” as “a boot stamping on a human face-forever” (NEF 280). ![]() ![]() If so, what does it mean to adapt George Orwell’s Nineteen Eighty-Four (1949)? According to Tom Moylan, Orwell’s Nineteen Eighty-Four (1949) is a narrative of “anti-utopian pessimism” that “forecloses the possibility of any social transformation” (161-2). ![]() In A Theory of Adaptation, Linda Hutcheon claims that “Adaptation is repetition, but repetition without replication” (7). ![]()
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