Volume 26, Issue 3 (12-2022)
Abstract
A cinematic work is a type of work of art that in most national systems is subject to special rules compatible with the nature, type of this work and its thriving industry. In national law, despite the flourishing film industry in society and its numerous enthusiasts, it has not been legislated and does not have a set of rules governing it. One of the reasons for this gap is the lack of a precise definition of this work and the lack of recognition of its nature. The main question is what is the nature of the cinematic work in the existing legal gaps? With the definition of joint work in the current laws of intellectual property, according to the law of France and Iran, unlike England, India and the United States, the cinematographic work is considered a joint work, and in the review of other categories can be said that a cinematic work is a derivative, adapted, audio-visual work. In all the examined laws, the cinematic work is an adapted work, because the use of the elements of the original work and the change in the format in the second work and a relative originality in creativity and innovation to create an adapted work are mentioned in all the examined laws, so it should be considered The rights of adapted works should be implemented in the national legislation to respect the rights of the author of the original work and to protect the cinematographic work. Also, in French law, like Iranian law, a cinematic work is considered a joint work, so how to exploit this work in French law should be taken into consideration in the legislation for cinematic works in Iran
Volume 31, Issue 3 (8-2024)
Abstract
Modernist literature decidedly experiments with such modes of discourse representation as free indirect discourse (FID) to highlight the subjective nature of reality and reflect the estrangement of the modern subject. Accordingly, an analysis of discourse representation has proved to be integral in exploring Modernist narratives. The discourse representation in movies, however, has received little attention from film narratologists. After an overview of discourse representation in literature and film, the present paper examines Virginia Woolf’s modernist masterpiece Mrs Dalloway (1925) and its cinematic adaptation of the same title by Marleen Gorris (1997) and its interconnectedness to present characters’ subjectivities. The basic claim of this study is that the (free) indirect discourses of the novel are turned into free direct discourse in the movie using the technique of internal sound or flashback. Although there are instances of internal focalisation in this movie, they are so disjointed or short that the dominant discourse remains that of the narrator. Therefore, the findings of the present essay demonstrate that Gorris’ film is not creative enough to bring about effects equal to or beyond those produced by Woolf’s or reproduce the underlying forces of “difference” at play in Woolf’s text.
