ScholarWorks@숙명여자대학교

초록

The purpose of the paper is to examine the intertextual relations of the narrative technique of modern novels to that of film by way of comparing and contrasting between Virginia Woolf's Mrs. Dalloway(1925), Michael Cunningham’s The Hours(1998) and Stephen Daldry’s The Hours(2002). Film came to replace in popularity the novel through the application of techniques practiced by the precursors of modern novels such as Henry James and Joseph Conrad. These authors break with the representational novels of the earlier nineteenth century and stress on ‘showing’ how the events unfold dramatically rather than recounting them. Simultaneously, film has been influential on the modern novel. For example, the techniques of Eisentsteinian montage cinema influence the modern novelists like Virginia Woolf and John Dos Passos. This paper is, therefore, concerned with ongoing process of transmutation between a modern text, a postmodern text and a film text. The intertextual relations between Woolf’s Mrs. Dalloway, Cunningham’s The Hours and Daldry’s The Hours are regarded as ones of the most representative cases for the process of convergence between art-forms. Cunningham’s The Hours re-presents Woolf’s Mrs. Dalloway in terms of intertextuality in works that echo and transform their predecessors. The novel The Hours extends the narrative of Mrs. Dalloway. The later novel repeats the characters and themes of love and death and time in the former. Daldry’s elegant and melancholy movie The Hours is based upon Cunningham’s novel. It is also inspired by the stream of consciousness narrative of Woolf’s Mrs. Dalloway. The film The Hours celebrates life and feels sorry for those hours that keep relentlessly slipping away. In these ways, Cunningham and Daldry are dancing with the spectre of Woolf through exchanging the narrative techniques of fiction and film.

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