Stvaranje atmosfere u prvoj epizodi televizijskog serijala Sluškinjina priča te u istoimenu romanu Margaret Atwood – komparativna analiza.

The comparative analysis of the novel The Handmaid’s Tale by Margaret Atwood and the TV series of the same name, created in the production of MGM and Hulu studio, will be especially focusing on the transition from the literary discourse into an audiovisual language, as well as the thematic layers that mostly stand out thanks to the creation of the dark and anxious atmosphere. This emphasizes many familiar forms of totalitarian regimes even more, along with the violation of human rights, especially women’s rights, controlling citizens by violence, fear, paranoia and (un)availability of the sources of knowledge and information. The focus of this analysis will be on the following questions: How is the atmosphere of the novel transferred into the medium of film? How are the photography, framing, sound, editing, costume designs and set design working together to enable this? The analysis will also include the question of adapting a novel from 1985 to a broad TV audience in 2017, without losing any of its tendencies to face the audience with a world shockingly close to their own, which is, paradoxically, recognizable and unrecognizable at the same time. [ABSTRACT FROM AUTHOR]

Komparativna analiza romana Sluškinjina priča Margaret Atwood i istoimena televizijskog serijala, nastalog u produkciji studija MGM i Hulu, bavit će se posebice prijenosom iz književnog diskursa u audiovizualni jezik te tematskom slojevitošću koja najviše dolazi do izražaja zahvaljujući stvaranju tjeskobne i mučne atmosfere, čime se dodatno naglašavaju mnogobrojni već viđeni obrasci totalitarizma i ukidanja ljudskih prava, posebice prava žena, te kontrole stanovništva nasiljem, strahom, paranojom i (ne)dostupnošću izvora znanja. Rad će se baviti pitanjem kako atmosferu romana transponirati u filmski jezik iznimno promišljenom uporabom filmskih izražajnih sredstava (fotografija, kadriranje, zvuk, montaža, kostimografija, scenografija) te kako prilagoditi roman iz 1985. televizijskoj publici iz 2017, a da se pritom ne gubi ništa od njegove tendencije da gledatelje suoči s njima šokantno bliskim svijetom koji je istoj toj publici, posve paradoksalno, istodobno prepoznatljiv i neprepoznatljiv. [ABSTRACT FROM AUTHOR]