“He would do nothing in the office”: Work and alienation in cinematic adaptations of Herman Melville’s Bartleby.

This paper analyzes the representation of the office workplace in filmic adaptations of Melville’s short story “Bartleby, the Scrivener”. Following a brief overview of film adaptations of Melville’s short story, this article will discuss Miro Bilbrough’s (2001) and Gerard Amsellem’s (2013) short films, Andreas Honneths (2010) experimental interpretation as well as Laura Naylor and Kristen Kee’s (2017) stop-motion movie. By, for instance, analyzing how the movies try to replicate the first-person narration, find visual images for Melville’s uncinematic descriptive prose, or underline the thematic importance of writing by incorporating different forms of written text, I will firstly examine techniques of intermedial transposition. Since the filmmakers deploy the setting to reimagine or modernize the story, the set design is to be regarded as an essential part of the adaptation process. Paying particular attention to the usage of space, the visual presentation of physical and metaphorical walls, as well as the utilization of non-human entities as ‘actors,’ I will seek to demonstrate how the movies under study reflect contemporary office environments and dynamics of work culture. Updating the nineteenth-century quills and inkpots to modern office technology, for example, allows the directors to reflect upon how electronic communication can cause or reinforce isolation. Different concepts of alienation serve as an essential theoretical framework for the movies. The adaptations concern themselves with social disconnect, engage in questions of ecological alienation, or focus on a political and socioeconomic interpretation of Bartleby’s passive resistance to productivity and consumption.