• DOI:10.1177/0021989416671171
• Corpus ID: 164759708

Padma or No Padma: Audience in the Adaptations of Midnight’s Children

@article{Mendes2017PadmaON,
  title={Padma or No Padma: Audience in the Adaptations of Midnight’s Children},
  author={Ana Cristina Mendes and Joel Kuortti},
  journal={The Journal of Commonwealth Literature},
  year={2017},
  volume={52},
  pages={501 - 518}
}

• A. Mendes, Joel Kuortti
• Published 1 September 2017
• Art
• The Journal of Commonwealth Literature

It is remarkable that what many consider as Salman Rushdie’s landmark work in fiction, Midnight’s Children, was first adapted to film only in 2012, 31 years after its publication. It was also the first of his works to be filmed. This is noteworthy given the novel’s cinematic self-awareness and the writer’s overt interest in acting and cinema, which he has reiterated over the years. Cinema, as a subject matter and a distinctive artistic language, resurfaces time and again in the pages of Rushdie’s essays, short stories, novels, and other writings. As many critics have pointed out, the writer’s emotional connection to cinema has translated into cinema itself being put to work as a mediating device in his oeuvre, with his characters often making sense of themselves and the world — and coming to terms with their own place in it — through cinema. In this article, we examine the three existing adaptations of Midnight’s Children, with particular emphasis on the 2012 film, in view of their discursively constructed audiences. We consider these adaptations from the point of view of the audience, and how they engage with the spectator/reader. Our analysis is supplemented by Rushdie’s essays on the acts of adaptation and translation from one artistic medium to another. Our purpose is not to measure the failure or success of Rushdie’s and Mehta’s adaptation (although an aesthetic evaluation would indeed be of interest); we argue instead that the film adaptation is a protracted creative project that has taken into consideration, more than previous adaptations of the novel, not only new forms of representation and new ways of reading, but also new ways of engaging its constructed audiences.