From Princesa to Princess with a Prince: 1994 and 2001 Fernanda's Stories
In an analysis of what presents itself as a cinematic transposition of a literary text, it is difficult to break away from the “binary oppositions [...] literature versus cinema, high culture versus mass culture, original versus copy" (James Naremore). In the case of Princesa (2001), directed by Henrique Goldman, it is questionable whether we can speak about an adaptation at all. As Goldman himself stated, he got the idea for making the film after reading the eponymous 1994 book written by Fernanda Farias de Albuquerque in collaboration with Maurizio Jannelli. In his film, Goldman has made drastic changes to the autobiographical story of Fernanda, the Brazilian transsexual prostitute who travels to Europe in order to earn money for her sex-change operation. However, the film was in fact dedicated to the memory of the real Fernanda, who had passed away in the meantime. In this contribution, the two works will be examined in their relationship to a third source-text by paying special attention to the processes of worldmaking as developed in Nelson Goodman's seminal 1978 book and expanded in the 2010 collection of essays Cultural Ways of Worldmaking. Media and Narratives.
Ahmed, Sara, Queer Phenomenology: Orientations, Objects, Others, Durham, Duke University Press, 2006.
Di Maio, Alessandra, “Immigration and National Literature: Italian Voices from Africa and the Diaspora”, The Mediterranean Pas-sage: Migration and new cultural encounters in Southern Europe, Ed. Russell King, Liverpool, Liverpool University Press, 2001: 146-162.
Ea., “Black Italia: Contemporary Migrant Writers from Africa”, Black Europe and the African diaspora, Eds. Darlene Clark Hine - Trica Danielle Keaton - Stephen Small, Urbana, University of Illinois Press, 2009: 119-145.
Farías de Albuquerque, Fernanda – Jannelli, Maurizio, Princesa, Roma, Sensibili alle foglie, 1994.
Goodman, Nelson, Ways of Worldmaking, Indianapolis, Hackett Publishing Company, 1978.
Hutcheon, Linda, A Theory of Adaptation, New York-London, Routledge, 2006.
Mengozzi, Chiara, “Scena interlocutoria e paradigma giudiziario nelle scritture italiane della migrazione”, Between, II.3 (2012), http://www.Between-journal.it/
Neumann, Birgit - Zierold, Martin, “Ways of Worldmaking: Media-specific Structures and Intermedial Dynamics”, Cultural Ways of Worldmaking. Media and Narratives, Eds. Vera Nünning - Ansgar Nünning – Birgit Neumann, Berlin-New York, De Gruyter, 2010: 103-119.
Nünning, Vera - Nünning, Ansgar – Neumann, Birgit (eds.), Cultural Ways of Worldmaking. Media and Narratives, Berlin-New York, De Gruyter, 2010.
Parati, Graziella, Migration Italy. The Art of Talking Back in a Destina-tion Culture, Toronto, University of Toronto Press, 2005.
Portelli, Alessandro, “Mediterranean Passage: The Beginnings of an African Italian Literature and the African American Example”, Black Imagination and The Middle Passage, Eds. Maria Diedrich - Henry Louis Gates jr. - Carl Pedersen, New York-Oxford, Oxford University Press, 1999: 282-305.
Sanna, Silvia, Fabrizio De Andrè: storie, memorie ed echi letterari, Monte Porzio Catone, Effepi, 2009.
Seligardi, Beatrice, “A snake of black language: il processo come struttura narrativa in Babel Tower di A.S. Byatt”, Between, II.3 (2012), http://www.Between-journal.it/
Wood, Sharon, “ 'A Quattro Mani': Collaboration in Italian Immigrant Literature”, Collaboration in the Arts from the Middle Ages to the Present, Ed. Silvia Bigliazzi - Sharon Wood, Aldershot, Asgate, 2006: 151-163.
Le Strade di Princesa – ritratto di una trans molto speciale, Dir. Stefa-no Consiglio, Rai Tre, Italia, 1997.
Princesa, Dir. Henrique Goldman, Manga Films-Bac Films-British Screen-Telepiù-Filmstiftung Nordrhein-Westfalen – Road Movies Filmproduction – Westdeutscher Rund Funk WDR, Spain-Italy-France-UK-Germany, 2001.
Pretty Woman, Dir. Garry Marshall, Touchstone Pictures, USA, 1990.
You are free to copy, distribute and transmit the work, and to adapt the work. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).