In this essay, I explore the cinematic adaptation and the representation of trauma, while I further consider the role and significance of the notion of the origin in both trauma and in cinematic adaptation. Through an initial consideration of the relationship between the theory of the impossible origin, particularly as it is articulated by Walter Benjamin, the essay goes on to analyze the significance and role of an impossible origin in the elemental form of adaptation. To this end, the essay considers the movement of adaptation from an autobiographical trauma memoir to a feature film, considering the success or failure of adaptation in situations where the original literary work concerns an experience of extremity. As I consider the vicissitudes of trauma and its grounding in a repetitious structure that leaves the survivor suspended in a kind of missed experience (or missed origin), I further explore how this missing origin (or original text in the case of adaptation) can be represented at all.

中文翻译：

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不可能的起源：创伤叙事和电影改编

在本文中，我探讨了电影的适应性和创伤的表现，同时我进一步考虑了起源概念在创伤和电影适应性中的作用和意义。通过初步考虑不可能起源理论之间的关系，特别是正如沃尔特·本杰明（Walter Benjamin）所阐述的那样，本文继续分析了不可能起源在适应的基本形式中的意义和作用。为此，本文考虑了改编从自传创伤回忆录到故事片的运动，并考虑了在原始文学作品涉及肢体体验的情况下改编的成败。