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The issue of cultural appropriation is at the crux of adaptation studies with emphasis on what constitute cultural junctures in cinematic renditions of textual sources, rather than how formal processes facilitate contextual and intertextual overlap. This paper explores processes for the appropriation of textual polysemy in visual terms in film. Drawing on classical semiotics and film semiotics, I propose a theoretical model for reconstructing the effect of contextual complexity and overlap manifest in textual polysemy in terms of visual signification in film. The proposed model is applied in an analysis the recurrent rose imagery in American Beauty ( Sam Mendes 1999 ).

Is a rose is a rose is a rose? Appropriating polysemy in film: The case of rose imagery in American Beauty