‘Steps’ : the theory and practice of a short story’s cinematic adaptation

Abstract

This dissertation aims to show the process of a cinematic adaptation based on a short story ‘Footsteps’ written by me. The process reveals the differences between the specificity of the two forms of storytelling. Indeed, cinematic writing relies on the externalization of thoughts and emotions by applying the “show don’t tell” technique. Although the main concept of the short story remains the same, every supporting element has changed dramatically in its cinematic adaptation. The short story ‘Footsteps’ is a linear narrative of how a grandson discovers the true story behind the footsteps. They symbolise the grief and love of his grandmother, for her long gone husband. The short film Steps focuses on our beliefs, thoughts, and truths. It shows two different sides of one story, therefore it emphasizes our perception of reality and how our feelings can manipulate them. In order to achieve this effect, the cinematic narrative is divided into two parts by the use of a false ending. The main character might seem to be Philip at first but as the story unfolds, we see that the main character is actually Emanuela, his grandmother. Emanuela represents the harmony of opposite feelings one might carry through their life. Since it is my first experience as a writer, director, producer, and also as a co-editor, the dissertation reveals how each creative and executive decision taken required a deep understanding of the specificity of both mediums.