Book to Film: A Textual Analysis of Percy Jackson and the Olympians: The Lightning Thief

Below is a Film Brochure analysing the adaptation of Percy Jackson and The Lightning Thief to its film counterpart, through a taxonomic approach, a scene analysis and a narrative analysis. This was produced for the Text to Screen course at University, and was rewarded 66/100.

Introduction

Authors Phyllis Frus and Christy Williams describe an adaptation as, ‘a text that has been changed to suit a new purpose,’ (Frus and Williams 2010:3) and where, ‘the new text is recognisable as a relation of the earlier text.’ (2010:3) This brochure will explore how the 2005 novel Percy Jackson and the Lightning Thief was adapted into the medium of cinema when becoming Percy Jackson and the Olympians: The Lightning Thief (Chris Columbus, 2010). Both the source text and its adaptation follow Percy Jackson (Logan Lerman) who realises that the Greek myths are real and that he is the son of Poseidon, as he must travel to find Zeus’ stolen lightning bolt and save his mother from the Underworld. I will explore the transformation between the two mediums through a taxonomic approach, a close analysis of a scene that has been translated from novel to film and the comparing of the narrative structure of the source text and its adaptation through the use of both of their kernels and satellites. In the process of the taxonomic approach, I will discuss how the adaptation fits into various taxonomies based on Kamila Elliot, Gérard Genette and Thomas Leitch’s differing viewpoints on what they define as their taxonomies.

Taxonomies

Taxonomies can be defined as, ‘in general the rules or conventions of order or arrangement,’ (Lambe 2007:5), or as simply just a mode of classification. In adaptation theory, taxonomy refers to various different classifications of adaptations, classifying the approaches filmmakers took when adapting a text to another medium, commonly based on how faithful the adaptation is to the source. This Taxonomic approach can be used to classify adaptations into various different classifications based on the specific taxonomies laid out by Kamilia Elliot, Gérard Genette and Thomas Leitch. The adaption being analysed in this brochure, Percy Jackson and the Olympians: The Lightning Thief, can be analysed through the Trumping and Genetic methods laid out by Elliot, hypertextuality and architextuality laid out by Genette and Leitch’s categories of adjustment, correction and allusions, with this section of the brochure going into how the adaption fit into these specific categorisations.

Firstly, the adaptation can be classified under Kamila Elliot’s Trumping method, a concept that conveys, ‘concerns in that addresses which medium represents better,’ (Elliot 2009:174) and also, ‘asks, what’s wrong with the original?’ (2009:174) The trumping method commonly involves turning something that is too short or long into something palatable for the new audience consuming the adaption, either through developing ideas found in the source text to make it film length or shortening it to fit that length, or even sometimes seeking to ‘correct’ some elements of the source text. This brochure’s chosen adaption fits into this category because elements of the film have been changed from the source with the character’s being aged up from 10 to being teenagers, a decision made to make it more marketable for a film audience that would be watching other young adult fiction film adaptations, like The Hunger Games (Gary Ross, 2012). This change also then led to more appearances of adult jokes, moving the more childlike dialogue of the original to be more palatable for a more mainstream audience who have been the target demographic of other book adaptions released at the time. The adaptation also then can be classified under Elliot’s genetic method as well, a category, ‘which posits an underlying deep narrative structure akin to genetic structure between the literary and cinematic versions of a given story,’ (Leitch 2007:99) and one that recognises that the adaptation may have a different plot structure or have removed or new elements, however the source text and the adaptation still tell the same story. This adaptation can clearly fit into this category because the film retains the basic plot structure of the original text, it has the same end goal of returning the lightning bolt and saving Percy’s mother, but the journey towards those goals are slightly changed. The novel’s plot structure is a lot simpler, being a lot more straightforward going from point A to point B, while the film introduces a fetch quest element by introducing Persephone’s pearls to make the journey into the Underworld feel more cinematic for the film medium.

Next, the adaptation can be classified under Gérard Genette’s categorisation of architextuality, a category which finds how, ‘genetic perception is known to guide and determine to a considerable degree the readers’ expectations,’ (Genette 1997:21) based around reader’s expectations of a text from varying factors. The adaptation being discussed in this brochure follows this because of the director, Chris Columbus, who also directed Harry Potter and the Philosopher’s Stone (2001, Chris Columbus), a fact that is also advertised on the various posters that were used for the film’s marketing. This previous work from Columbus would set an expectation for this film, people who have not read the novel and only basing their expectations on the director’s previous work would assume it is a film with a similar tone and story as Harry Potter. The adaptation can also then fit into Gérard Genette’s next categorisation, hypertextuality, with Gérard herself explaining it as, ‘I mean any relationship uniting a text B (which I shall call the hypertext) to an earlier text A (I shall, of course, call it the hypotext) upon which it is grafted in a manner that is not that of commentary.’ (1997:21) Both the novel and film of this brochure derive a lot of their inspiration from the hypotext of Greek mythology, basing a lot of the story and characters appearing off the Greek myths and making Percy similar to a modern Greek hero. They both include various iconography, like the Underworld and Olympus, and characters from Greek Mythology, like the Gods and Medusa, keeping these various characters true to their original depictions and just modernising them, with those original myths taking place millions of years before the events of both texts.

Thomas Leitch’s taxonomies are the final categories that the chosen adaptation can fit into, starting with the adjustment category which is defined as, ‘a promising earlier text is rendered more suitable for filming by one or more of a wide variety of strategies.’ (2007:98) This brochure’s chosen adaptation fits into this category because of the various compressions that the adaptation makes from the source, omitting various characters like Clarisse and Dionysus, two characters who are crucial to the novel but are removed to make the adaptation film length. The compressions are shown in the ending as well, with the adaptation omitting the villain Ares and replacing him with Luke, making the final battle of the story different in both texts. Another section of adjustment the adaptation falls into is the superimposition section, which happens when an actor or author, ‘superimpose more or less explicitly identified co-authors on the material it borrows from the literary sources.’ (2007:100) The casting of Alexandra Daddario as Annabeth is where the adaptation fits into this, as a famous actress she was allowed to change the character to her liking, superimposing her personality overtop the book’s smart and tactical character, even being allowed to keep her natural hair colour, making the character not even resemble the novel’s description of her. The adaptation also falls into Leitch’s correction category, a category that comes into play when, ‘many films correct what they take to be the flaws of their originals.’ (2007:100) The biggest changes the film makes compared to the novel is through adding connections to future sequels, where the original novel is very standalone. The adaptation corrects by setting up the romance between Percy and Annabeth from film one rather than leaving it for the future and by setting up the central antagonist earlier, the film has the benefit of hindsight and can correct the first novel to set up any future plot points. Letich’s allusions category also fits for the adaptation as well, a category that is similar to Genette’s hypertextuality category, with allusions referring to when a text references another earlier text, with Leitch pointing out, ‘it is impossible to imagine a movie devoid of quotations from or references to any earlier text.’ (2007:122) This is clearly done in both texts by the intertextual references to Greek mythology, mentioning various Greek heroes like Perseus throughout.

Scene Analysis

Next, both texts can be analysed through a key scene analysis, describing how a scene played out in the text format of the novel and then was brought alive by various filmmaking techniques for the adaptation. The scene that this brochure will be analysing is the scene where the Minotaur attacks Percy Jackson, his friend Grover and his mother Sally, it is a key scene because it puts the narrative into motion, killing off his mother so the quest to save her can begin and making Percy arrive at Camp Half Blood, the home for people like him. The scene also gives exposition for what’s happening in the plot and the worldbuilding the film contains, with the scene taking place in Chapter 4 of the novel, also titled as ‘My Mother Teaches Me Bullfighting’ from pages 44 to 56 and in the film starts at 16 minutes in and ends at 21 minutes in.

The novel features a reliable ulterior autodiegetic narration from Percy’s point of view and is set in the past tense, with the novel set out like a diary with comedic chapter titles, the film brings this to life through diegetic voice-over narration, though not present in this scene. The film instead visualises the narration through showing the viewer what would only be described in the novel and through expositional dialogue when needed, the move between mediums means that the film needs to find new ways of conveying the information that the novel had done through its narration. The novel describes the car ride before the attack as, ‘we tore through the night along dark country roads’ putting emphasis on the speed that they are moving at, with the film adapting this by the use of shot, reverse shot in the car, cutting between medium shots of Percy and Sally. Each cut back sees the roads moving past in the windows, using motion blur to give a sense of fast movement as the car moves at speeds matching the book’s description. An overhead long shot also shows the car zipping past as it goes past country roads, cattle appearing in the bottom of the shot to convey the sense that they are travelling in the countryside. The first time that the Minotaur is mentioned in the novel it is only described by the noises it makes, ‘the weird bellowing noise rose up again somewhere behind us, closer than before.’ The movie brings this to life by panning away from the long shot of the countryside to the cattle, the diegetic sound of the car becoming quieter as it is drawn out by an animalistic diegetic growl, sounding similar to the diegetic noise of the cattle as the movie reveals the back of the Minotaur, standing up right into frame.

Figure 1: Minotaur lifting the car

The crash of the car happens suddenly in the novel, with no actual told reason of what happened, with Percy just assuming it was because of lightning, he describes it as, ‘there was a blinding flash, a jaw-rattling boom, and our car exploded.’ The film translates this by creating a sudden feeling of the crash through hard cutting the non-diegetic music into Grover shouting in terror, cutting next to a POV shot that actually shows what causes the crash, as the viewer watches through Percy’s eyes as a cow gets thrown in front of the car. The diegetic sound of the car screeching as it quickly swerves gets louder, as the film fast cuts between multiple shots to heighten the tension, a long shot next showing the car flipping over as the diegetic screams of its passengers match the terror. The car comes to a stop at the end of the scene, spinning around dramatically as the bright headlight follows the movement until coming to a stop. As the characters escape from the crashed car, the film and the novel line up when they first show the Minotaur, both showing it for the first time as it picks up the car and throws. The novel states, ‘He was seven feet tall, easy,’ ‘coarse brown hair started at about his bellybutton and got thicker as it reached his shoulders,’ and finally, ‘he raised up Gabe’s Camaro by the torn roof, the chassis creaking and groaning. He raised the car over his head and threw it down the road.’ The adaptation emulates this slow description of the monster by first showing it through a POV shot, a low angle shot that sees the Minotaur from far away as seen in Figure 1, until it pulls into a low angle medium shot underneath its body. The camera looks up as the Minotaur lets off a diegetic roar, the low angle showing the full scale of the monster, with the CGI model reflecting the brown hair and design mentioned in the book. The Minotaur raises the car, diegetic sounds of creaking playing as it lifts and then the car is thrown, a medium shot tracking the car as it moves over the character’s heads and lands on the ground, loud diegetic crashing sounds as it makes impact.

Figure 2: Minotaur holds Sally

The novel next describes the death of Sally, as when referring to the Minotaur it states, ‘his hand shot out and grabbed her by the neck as she tried to get away. He lifted her as she struggled, kicking and pummelling the air.’ The novel then continues stating, ‘the monster closed his fists around my mother’s neck, and she dissolved before my eyes, melting into light, a shimmering golden form.’ The movie translates this by showing the Minotaur in a long shot, his scale looking massive compared to Percy who is in the foreground of the shot, diegetic cracking noises are heard as Sally looks tiny in the Minotaur’s hands. Dramatic non-diegetic music is playing as well to sell the seriousness, as the camera pans closer to Sally, watching as she flails in the air as seen in Figure 2. The camera stays on the closer medium shot as Sally calls out in pain, the Minotaur clenching his fist and she dissolves into a gold mist, the mist having a large colour contrast with the darker colour palette of the night-time scene with the death hitting its final moment as the diegetic sound of wind blows the mist away, returning the scene back to its dark colour palette.

Narrative Structure

The final way of comparing and contrasting the novel and its adaptation is through comparing both of their narrative structure’s, mainly through comparing both texts kernels and satellites. Seymour Chatman refers to narrative events as, ‘not only a logic of connection, but a logic of hierarchy.’ (Chatman 1980:53) He also describes kernels as, ‘narrative moments that give rise to cruxes in the direction taken by events. They are nodes or hinges in the structure, branching points which force a movement into one or two (or more) possible paths.’ (1980:53) Kernels are major plot points, placed higher in the hierarchy of narrative events compared to satellites, removing them would cause massive changes in the plot structure as they are the clear turning points in plot. Chatman then describes Satellites as, ‘a minor plot event,’ (1980:54) and by stating, ‘Satellites entail no choice, but are solely the workings out of the choices made at the kernels.’(1980:54) Satellites are narrative events that are less important compared to Kernels, they operate to strengthen the events made by the kernels rather than thrusting the plot forward themselves, they can be removed from the structure and very little would change from doing so. It is very important than to compare the use of kernels and satellites in both texts because any change in kernels can result in a completely different narrative, and then can be explored why those changes were made for the adaptation going into a different medium.

The film adaptation takes major liberties when adapting the various kernels, including most of the kernels featured in the novel but changing them to fit what story they are telling instead and even adding some of their own kernels that do not exist in the source text (see Appendix 1). K1 is the very first big example of a additional kernel added for the film adaptation, the movie opens significantly differently than the novel, introducing Zeus and Poseidon so that they can rely information about the plot to a general audience easier. The novel reveals information of the plot by telling the story through Percy’s eyes, the reader learning information as Percy does, but its harder to do that in a film, when a film audience is usually shown information before the characters are shown that information themselves. The kernel also exists to fit into the adaptation’s more significant role for Poseidon, who exists as a non-entity in the novel besides one scene in the end (K12) but the film develops on Percy’s relationship with his father more (seen in S2 and S11). Poseidon appears frequently in the film to warn Percy in dangerous situations, with the film version removing the idea of Poseidon, Zeus and Hades being forbidden to have children, instead going for a more likeable portrayal of Poseidon being a father who wants to do better.

Multiple characters and their respective satellites have also been removed from the film version, mainly Clarisse and Dionysus, who served their roles in the novel to have more notable characters being around the camp for Percy to interact with. Clarisse’s primary appearance is in S8, where she attempts to bully Percy, but with the film version going for a older teenage protagonist, bullying scenarios could be seen as less heroic or realistic for a older character. Her function in the novel as a warrior is taken by Annabeth in the film, with the character’s merged, which is mostly seen in S5 where Annabeth and Percy battle in capture the flag. The novel puts them on the same team while the film makes them rivals, building up their budding rivalry to lovers earlier than the books ever did, Annabeth is no longer the smart and tactical character she is in the books, but rather a warrior who likes to battle, likely because of the actresses’ star power. Dionysus’ function in the novel is to introduce the camp to Percy, letting of exposition so that both the character and the reader can understand the world of gods and demigods. His role is taken by Chiron in the film, a decision that makes the film less overpopulated by characters and makes it more straightforward, the plot less stagnant and running at a faster pace. Dionysus’ only notable part of the novel is in K4, where he reveals to Percy that the Gods are real, only for then Chiron to show Percy around the camp. Chiron reveals this fact to Percy in the film, seen in K5, moving this key kernel and just giving it to a different character, allowing the removal of a character to lead to more focus on the character’s that stay.

The key kernel changes in the movement from novel to film is the addition of Persephone’s Pearls and changing Luke to being the lightning thief rather than Ares. Persephone’s Pearls (introduced in K7) serve as a way to add a fetch quest element to the film, making the story of the novel be more straightforward. The novel features the characters accidentally wandering into the various monsters they fight, with them being separate to the overarching narrative, so the film adds a reason why the characters must go to these various monsters. It makes the narrative feel more cinematic, with a regular three act structure rather than multiple random monsters that just show up, there’s narrative purpose to everything that shows up in the film. Multiple monsters are cut from the film as well with the Pearls change, the Chimera of S17, the return of Mrs Dodds in S14 and the giant Procrustes of S20 are all absent, rather replace with the Hydra of S10. Film’s have a shorter length to tell their narrative and removing these various characters were clearly done so that they could fit the normal movie length, replacing them with a more cinematic and recognisable monster as the Hydra. Ares’ exclusion from the film is a massive change to the novel’s structure, with K10-11 revealing him as the lightning thief, and the real antagonist of the novel. However, the novel still reveals that Luke was really behind the entire plot from Ares (K13) as a twist, with the film version instead deciding to skip straight to Luke being the villain. It is a way of simplifying the narrative for the shorter runtime, with Luke’s betrayal being less of a twist and more of a clear fact, changing Ares’ backpack holding the lightning bolt to Luke’s shield holding it (K8). The climatic fight with Ares in K11 is changed to a fight with Luke in K9, revealing his plan and reasons earlier in the film than it does in the novel. This was clearly done here so that the film can have more of a ending that has all loose ends tied up, the book leaves the threat of Luke for the future, while the film deals with him instantly, giving a more satisfactory defeat of the main villain and ending Percy off with a heroic moment rather than being defeated, a ending that a general audience would prefer and a ending that would work if they would never go on to adapt any of the sequel novels.

Conclusion

Through this brochure, using the taxonomical approaches of Elliot, Genette and Leitch, comparing the narrative structure and a close scene analysis, it has been shown how Percy Jackson: The Lightning Thief and Percy Jackson and the Olympians: The Lightning Thief differ and are similar. The adaptation serves as a straightforward and slimmed down version of the original text, keeping various scenes, kernels and satellites but removing or moving other scenes around to make it more suitable for the medium of film or to make it less complicated. It still keeps the spirit of the original text alive throughout, telling the same story in its skeleton but its just one interpretation of the text, a director’s differing viewpoint on how to tell the story compared to how the original author told his story.

Book Narrative Structure S1- Percy goes on a field trip with his boarding school, learning about Greek mythology from his teacher Mr Brunner S2- Percy is bullied by Nancy Bobofit, somehow controlling the water fountain, his teacher Mrs Dodds makes Percy follow her as punishment K1- Mrs Dodds becomes a monster, Mr Brunner gives Percy a sword and Percy slays Dodds, only for Brunner to act like Mrs Dodds didn’t exist when Percy asks S3- Percy is kicked out of boarding school when his grades slip K2- Percy overhears Brunner and his friend Grover talking about him, stating that he is in danger, Percy hides from them and sees the shadow of a horse S4- Percy and Grover travel back home to the city, their bus stopped by three elderly women knitting, one of them cutting the string to symbolise death S5- Percy returns home, seeing his drunken stepfather Gabe, and meeting his mother, Sally, again. Sally takes him on a trip, telling Percy about his father and the camp he wanted him to go to. S6- They begin driving to the camp, Grover revealing he is a satyr, and is tasked with protecting Percy. Their car is run off the road by a Minotaur K3- The Minotaur kills Sally, and Percy kills the Minotaur in revenge, arriving at Camp Half Blood before fainting S7- Percy awakens in the Camp, meeting Annabeth Chase, the director Dionysus and Chiron, formerly known as Mr Brunner K4- Percy finds out that the Gods are real, sees Chiron as a centaur and then is sent to his dorm S8- Chiron shows Percy around the camp, meeting Luke and Clarisse, Percy somehow controls water when being confronted by Clarisse S9- Percy learns about Demigods, children of humans and Gods, learning Annabeth is the daughter of Athena S10- Percy develops sword fighting skills, somehow winning his first duel. He also learns about the Big Three- children of Hades, Zeus and Poseidon, with Hades being an outsider from the Gods K5- The Camp plays Capture the Flag, with Percy’s cabin winning. Percy is then chosen by his father, Poseidon, a god who is not meant to have children. S11- Percy is sent to his new cabin, someone sends him a newspaper which covers Sally’s disappearance. K6- Percy learns about the brewing war between Poseidon and Zeus, Zeus’ lightning bolt has been stolen and Zeus believes Percy has it, explaining why he’s in danger. K7- The Oracle gives Percy the quest to return the lightning bolt, with the deadline of the summer solstice. Percy believes Hades is behind it and he can save Sally in the underworld, with Grover and Annabeth joining him on the quest S12- Quest begins, with Luke handing Percy flying sneakers and Percy receiving his sword S13- Percy learns Sally married his stepfather to protect him, his stench hiding him from monsters. S14- They fight Mrs Dodds again, and two other Furies, losing money and clothes in the fight. S15- They stumble into Medusa’s gnome shop, beheading her in combat. S16- They return a lost dog for a cash reward, travelling next on a train. S17- When in a theme park, they are attacked by a Chimera. A vision of his mother warns him of gifts given to him and to go to Santa Monica. K8- Ares, God of War, sends the three on a quest to retrieve his shield in exchange for information on Sally. K9- After retrieving the shield, Ares reveals that Sally is not dead, she is a hostage in the underworld. He gives them a ride to LA, the entrance to the underworld. S18- Grover reveals he was responsible for the Zeus’ daughter Thalia being turned into a tree; he was her former protector. S19- They arrive at the Lotus Hotel, being stuck in the hotel for 5 days when time moves differently in there, emerging with one day left until solstice. S20-Percy meets Poseidon’s daughter who gives him pearls, as they take on the giant Procrustes in his waterbed shop S21- They bribe their way into the Underworld, playing fetch with Cerberus to cross the gates K10- They meet Hades, with the lightning bolt being revealed to be in Percy’s backpack given to him by Ares, escaping when Sally is threatened K11-Ares reveals his master plan, only to be beat by Percy in a duel. The Furies watch and tell Percy that they will tell Hades that he is innocent S22- Percy travels to Mount Olympus, using fundraiser money. S23- Zeus accepts Percy’s story and takes his thunderbolt back, teasing that Kronos was commanding Ares. K12- Poseidon reveals that Hades has revived Sally. S24- Percy visits Sally and tells her about the package from Poseidon, Medusa’s Head, which he wants to use on his stepfather S25- Percy returns to camp, Sally has used the head and Grover leaves to continue protecting demigods K13- Luke reveals himself as working for Kronos, seeking revenge on the Gods for Thaila, leaving Percy for dead S26- Percy is saved, telling Chiron and Annabeth about Luke. Percy and Annabeth go home, to return next summer to hunt Luke

Film Narrative Structure K1- Poseidon and Zeus discuss the stolen lightning bolt, Zeus blaming Poseidon’s son and saying he must return it by the summer solstice S1- Percy Jackson attends Yancy Academy with Grover, failing Mrs Dodds class. Returns home to his mother Sally and stepfather Gabe. S2- Percy sees a vision of his father warning him. In a fieldtrip, Mr Brunner explains what a Demigod is and compares Percy to Greek hero Perseus. K2- Mrs Dodds becomes a monster in front of Percy. He’s saved by Brunner and Grover, mentioning a summer camp and handing him a pen. S3- Grover tells Percy he is his protector, fighting Gabe so that the two and Sally can escape to go to camp. K3- Percy is told about his father, the car is hit by the Minotaur and Sally is killed. Grover is revealed to be a satyr and Percy kills the Minotaur, arriving at camp K4- Percy awakens in camp, Grover telling him the Gods are real, seeing Annabeth and Mr Brunner as Chiron K5- Chiron reveals to Percy that he is the son of Poseidon, and reveals Sally married Gabe to protect him S4- Percy meets Luke, who recruits him to his team for capture the flag S5- Percy beats Annabeth in combat after healing from water, winning the game K6- Hades invades the camp and tells Percy to bring him the bolt in exchange for Sally. Percy, Annabeth and Grover escape from camp K7- They visit Luke, who gives them flying shoes and a map to Persephone’s Pearls, a way to escape the Underworld S6- The first Pearl is obtained when running into Medusa, beheading her in combat S7- Staying at a motel, they see Gabe on the news blaming Percy for Sally’s disappearance S8- A woman sees the head of Medusa and they escape the motel S9- The next pearl is in a replica of the Pantheon, returning in the night and taking out the guards S10- Janitors are revealed to be a Hydra, using Medusa’s head to defeat and the shoes to get the pearl S11- They retrieve the next pearl in the Lotus Hotel, waking up from the spell keeping them trapped because of Poseidon. They realise they have been in there for 5 days, the deadline tomorrow S12- Enter in the Underworld through the Hollywood sign, and bribe the Ferryman to enter K8- Hades gets the lightning bolt when Percy drops his shield to save Sally, revealing Luke was the lightning thief. Persephone betrays Hades and returns the bolt to Percy K9- Grover stays in the Underworld as the others escape to Olympus, Luke ambushes them, revealing his plan and Percy defeats him S13- Percy gives the lightning bolt back to Zeus, who believes the story of Luke and returns Grover from the underworld. Percy and Poseidon reconcile S14- Percy returns to camp, meeting newly promoted Grover and Chiron, then duelling Annabeth to close S15- In the post credit scene, Gabe is frozen by Medusa’s Head when being kicked out of his apartment

Appendix 1: Kernels and Satellites for Adaptation and Source Text

Bibliography:

CHATMAN, S. B.1980. Story and discourse: narrative structure in fiction and film. Ithaca, N.Y.: Cornell University Press.

COLUMBUS C.2010. Percy Jackson and the Olympians: The Lightning Thief Film Poster [online image]. Available from: https://store.hmv.com/store/film-tv/dvd/percy-jackson-and-the-lightning-thief [Accessed 15th December 2022]

COLUMBUS C.2010. Minotaur lifting the car [online image]. Available from: IMCDb.org: 1972 Chevrolet Chevelle Malibu SS in "Percy Jackson & the Olympians: The Lightning Thief, 2010" [Accessed 5th January 2023]

COLUMBUS C.2010. Minotaur holding Percy’s mother [online image]. Available from: Which Percy Jackson/ Heroes of Olympus character are you? (playbuzz.com) [Accessed 5th January 2023]

ELLIOT, KAMILIA (2009) Rethinking the novel/film debate. Cambridge Univ Pr

FRUS, P, & WILLIAMS, C (eds) 2010, Beyond Adaptation: Essays on Radical Transformations of Original Works, McFarland & Company, Incorporated Publishers, Jefferson

GENETTE GERARD and PRINCE, G. (1997) Palimpsests: literature in the second degree. Translated by C. Newman and C. Doubinsky. Lincoln: University of Nebraska Press

LAMBE, P. (2007) Organising knowledge: taxonomies, knowledge and organisational effectiveness. Witney: Chandos Publishing

LEITCH, T 2007, Film Adaptation and Its Discontents: From Gone with the Wind to the Passion of the Christ, Johns Hopkins University Press, Baltimore

RIORDAN, R. 2005. Percy Jackson and the Lightning Thief. United States: Miramax Books

Riordan R.2014. Percy Jackson and The Lightning Thief Book Cover [online image]. Available from: https://www.penguin.com.au/books/percy-jackson-and-the-lightning-thief-9780141346809 [Accessed 15th December 2022]

Filmography:

Harry Potter and The Philosopher’s Stone (film). 2001. CHRIS COLUMBUS dir. United Kingdom: Warner Bros Pictures

Percy Jackson and the Olympians: The Lightning Thief (film). 2010. CHRIS COLUMBUS dir. United Kingdom: Fox 200 Pictures

The Hunger Games (film). 2012. GARY ROSS dir. United States: Lionsgate