Questões de adaptação na transposição fílmica japonesa de Assassinato no Expresso do Oriente

Abstract

Agatha Christie was a British writer who produced novels, short stories, plays and poems, which she established over the decades as one of the greatest references to works inserted in the police genre. In one of his most famous novels, Murder on the Orient Express, written in 1934, we witnessed the East Expresso train journey from Istanbul to London, where a heinous crime takes place in one of its wagons; it is up to Christie's most famous detective, Hercule Poirot, to solve the terrible crime. In the present work, we will use the Japanese film adaptation of Murder on the Orient Express (Oriento Kyuuko Satsujin Jiken, オリエト急行殺人 事 件 , 2015) to illustrate some of the normative principles that are considered when adapting a literary work for the cinema. In the first chapter, we will try to understand how the police genre was firmly established in the history of literature, from theories by Edgar Allan Poe, considered the father of the genre. The second step of our analysis consists of crossing through some of the theories that approach the film adaptation, determining which are the main precepts indicated by theorists of the area, such as intertextuality and intermidiality. Finally, in our third chapter, we will present the analysis of the two nights of the film Oriento Kyuuko Satsujin Jiken, highlighting the presence of the change from the point of view of narration from the first to the second night, through frames that will be used in the comparison of scenes. The story of the murder in a train car committed by the most improbable authors is told by Japanese icons, without detract the culture of its original creator.