Erinda Papa

This article examines how the narrative disruptions characteristic of literary Modernism—fragmentation, non-linear storytelling, and unreliable narration—are reinterpreted and extended through contemporary cinematic adaptations of literary texts. Drawing on canonical Modernist techniques, the study explores their resonance in films such as TThe Great Gatsby (2013), The Hours (2002), and Atonement (2007), which adapt both Modernist and non-Modernist literary works. It argues that these films mirror the Modernist rejection of linear coherence by employing fragmented, multi-perspective storytelling to address contemporary cultural concerns. The article situates these disruptions within the theoretical frameworks of Modernist literary innovation and media theory, highlighting parallels between early 20th-century narrative experimentation and present-day cinematic storytelling. These case studies illustrate the evolving forms of narrative subjectivity and temporality, reimagining Modernist themes of time, memory, and identity through cinematic techniques like rapid montages, anachronistic soundscapes, and subjective voiceovers. By demonstrating that Modernist narrative techniques remain relevant in contemporary film, this study calls for an expanded Modernist canon that includes cinematic adaptations, underscoring the enduring impact of Modernist aesthetics on contemporary culture.