38 Stam, R. (2008). Hutcheon herself admits that there are “other dimensions” to the “‘knowingness’ of the audience of adaptation, in addition to the awareness of the specific adapted text(s)” (123), but she leaves it largely to other scholars to define those dimensions. Dir. We are also after the clandestine, quieter tactics from which these (admittedly still contingent) affronts to the adaptation industry originate. First systematic theoretical study of the process in which works of literature are transformed into the medium of cinema. Draws on recent literary and cinema theory. Callista Roy: An Adaptation Model (Notes On Nursing Theories) Louette R, Fire Towers Of The Catskills: Their History And Lore Martin Podskoch, The Love Game: 36 Questions For Falling In Love Anthony David Adams MS, The Person In The Sight Of Sociology Colin Fletcher ---. There is, after all, no guarantee that consumers see adaptations as such, whether the industry wants them to or not. Adaptation: Studying Film and Literature. A new equation for adaptation studies—f(x)=?—may lead us to the conclusion that the limit does not exist, but even if we can only approach the zero degree of adaptations, at least we will be left with more precise coordinates. Discussing the “Studio strategies” behind such genre mixing, Rick Altman likens film executives to political candidates who must both appease and exceed their voter bases in order to ensure victory. Twelve Fallacies in Contemporary Adaptation Theory, Adapting Henry James to the Screen (2006), 'Miss Havisham's Dress: Materialising Dickens in Film Adaptations of *Great Expectations*', Film Studies Study Material for Burdwan University Undergraduate Students. Leitch’s own Hail Mary, “Adaptation, the Genre,” finds him wondering “which textual features are most likely to extend an invitation to a mass audience to consider a given film as an adaptation” (108). The pleasure of reading Dark Horse’s 2015 comics crossover Archie vs. This book is a lively and provoking introduction to film theory. Recall the scene in 1984’s Ghostbusters—echoed in the 2016 adaptation of the same name—in which EPA stooge Walter Peck shuts down the Busters’ Containment Unit, sending myriad sprits racing over skyscrapers, gusting out of subway tunnels, scurrying into tailpipes, and hanging out of hot dog carts. Robert Altman. Stam, Robert. Print. Useful for both film and literary studies students, Adaptation Theory and Criticism cogently combines the existing scholarship and uses previous theories to … At present, adaptation studies lacks blow-by-blow accounts of how audiences experience adaptations, how audiences play on and with the terrain imposed by adaptation industry, or the adaptation industries. New York: Oxford University Press, 2017. What I propose is not so much a single unified theory of adaptation audiences as what Leitch has more recently articulated as a petit theory thereof, a theory “not as a series of dogmas or organizing principles, still less as a set of solutions to consensual problems, but as a series of working hypotheses” (“Against Conclusions” 703). The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. Such situations would allow scholars to tackle the “difficult question” of “why certain hypo-hypertextual relations function as adaptational and other similar hypo-hypertextual relations do not” (Cattrysse 308). Most obviously, adaptations meet crossovers—to employ The Player’s parlance—or works in which characters or storylines in one series cross over into another. You will learn about: Narrative construction … Manovich, Lev. In this literature review, theories of driver behavioral adaptation (BA) are examined for the insight they can provide into how drivers will use advanced driver assistance systems (ADAS). 37 Full PDFs related to this … Useful for both film and literary studies students, Adaptation Theory and Criticism cogently combines the existing scholarship and uses previous theories to engage … Those subjectivities, whether and when they stem from studio executives, paying or pirating audiences, or adaptation critics, emphasize the “connection of experiences,” the “very knot of relations” (lxxxv) that hold adaptation together as such. Fine Line, 1992. He writes, “it all began here. Following the tactics of adaptation audiences—from Altman, conceiving of his adaptation, to Murray, conceiving of her adaptation industry, to the film buff buying in to the prepackaged Short Cuts—would provide for a greater array of contingencies. "Introduction: The Theory and Practice of Adaptation", in Literature and Film: A Guide to the Theory and Practice of Film Adaptation, edited by Robert Stam and Alessandra Raengo, 4 th edn, 1-52. The adaptationality of any given adaptation is also up for grabs, dependent as it is upon differing interpretations and currencies (fidelity often chief among them). An honest, evocative, and tender novel, It Ends with Us is “a glorious and touching read, a forever keeper. The kind of book that gets handed down” (USA TODAY). Adaptation study is awash in accounts—and accounts of accounts—not just of adaptation but of adaptation study; what is lacking is a better sense of experience, of what it means to experience adaptations as such in the moment of playing, reading, or watching. Discourses.” A Companion to Literature and Film. Trans. Have you ever Of course, the audience in question—the bobo demographic—is itself a blend, between the bourgeois and the bohemian, a mix that precipitates its own questions: What do those different audiences look like, and how or why do their interests converge on adaptation? And only by starting from these slight oscillations between knowing and unknowing will we begin to understand adaptation as a collaboration between consumers, producers, and works, between individuals, institutions, and adaptations. Taste is paramount in these pitches: When the screenwriters invoke Out of Africa, Pretty Woman, Ghost, and The Manchurian Candidate, they not only invoke the films’ genres and narratives but the films’ audiences as well. Literary adaptation is the adapting of a literary source (e.g. called transpositions that exhibit only a "minimum of apparent interference"39 with the 'reference text'. EBSCOHost, 2002.Central Oregon Community College Library, Bend, OR. t��䛆 {��Y�mw����S��X����ol�ſ��C��vcGݞ����XP��.--���p������)�$"�w~�L���RāM��L�S��DW/����u @���p��v�2�Mϻ�J��+��k_��tO�n���oo4P�Y����k?�iaxt'{����Jow�Y��Y���+�I �����ϡ�䢲�Ċ�ԧ�Aςn���`s��ߏU;(�Ɗ��u&��ܜD�5ȓ`�cPh. The story is also notable in that Verne attempted to do some rough calculations as to the requirements for the cannon and, considering the comparative lack of any data on the subject at the time, some of his figures are surprisingly close ... Sorry, preview is currently unavailable. An adaptation requires the … A short summary of this paper. Print. “Yeah, that’s exactly right,” one of the screenwriters replies, “It’s Out of Africa meets Pretty Woman” (see Figure 1). But the extended path of Fifty Shades of Grey, pornographic fan fiction that inspired pornographic and non-pornographic adaptations, shows just how inseparable these sectors have become, as audiences themselves negotiate adaptive and generic contracts with (and outside of) the adaptation industry, inflecting and reflecting their desires. In this 1901 classic, Wells's "first men in the moon" practice lunar locomotion, get lost in a moon jungle, and confront intelligent life in lunar caverns. A delightful tale that still stirs the imagination. Cattrysse himself stresses that these “intertextual relations may be ascribed to the creators, but they also may be attributed to viewers” (309). (Leitch’s own plea for a non-reductive theory of adaptation is appropriately titled “Against Conclusions.”) As and if adaptation scholars take up the task of describing adaptation audiences—“[p]henomenology involves describing, not explaining or analyzing” (lxxi)—those accounts must be similarly unfinished, inchoate, and incoherent. Yet Leitch remains somewhat resigned when it comes to the question of whether audiences accept or reject that invitation: “In the end,” he says, “the decision about how to experience an adaptation as an adaptation is up to individual members of the audience,” even while “their decisions will be everywhere inflected by the power of the institutional contexts within which a given adaptation, and adaptations in general, are made available to them and identified as such” (117). This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process. The first, from a pair of screenwriters, revolves around a T.V. These appropriations—these fan productions—represent the first front of consumers in their (sometimes legal) battles with and against the adaptation industry’s expansions. London: BFI, 1999. Eds. Print. Like the goal of any good crossover, like the goal of many good adaptations, the goal of The Jetsons Meet the Flintstones is to convert unknowing audiences into knowing audiences; to invite Jetsons fans to become Flintstones fans; to invite Flintstones fans to become Jetsons fans; and to invite fans of neither to become fans of both; in sum, to stoke variously unknowing audiences’ will to knowledge. Adaptation scholars have long set adaptation against other forms of intertextuality: allusion, appropriation, ekphrasis, parody, pastiche, performance, remake, remix, summary, translation, etc. For Leitch, petit theory “shifts deliberately from the singular to the plural to indicate the difference between a world, or an interpretive community, under the sway of a single consensual theory and a community in which multiple, often competing theories are constantly subject to debate because the currency of those theories is up for grabs” (704). Adaptation lies in the eyes of its beholders—both in its conception and its perception. This phenomenon is especially prevalent in the comics world (where Batman meets Superman, or Superman meets Captain America), which is not coincidentally home to “the most knowledgeable of audiences” (86), according to Neil Rae and Jonathan Gray, in their study of fan reactions to the original X-Men film adaptation and its sequel. Jenkins, Henry. This notion opens the door for a closer consideration of the expectations that audiences bring to adaptations—of adaptations as phenomena bound, at least in part, by the perspectives of their audiences (whether producers or consumers). Adaptation Theory In Literature. What is maintained across myriad adaptations across myriad media? Print. In this book, the author draws on theory from the more general discipline of evolutionary ecology to foster a fresh approach toward a theory of thermal adaptation. Significantly, this collection explores the role of play in the construction of meaning in Shakespearean adaptations—adaptations of both the works of Shakespeare, and of Shakespeare the man—and contributes to the growing scholarly ... HUTCHEON, A Theory of Adaptation. New York: Routledge, 2013. Print. The complex topic of adaptation presents a set of very For Cattrysse, such a definition of adaptation “enables researchers to consider the functioning of a movie or an adaptation as perspective-bound: one (set of) films may at once function as an adaptation to one audience but not another” (115). Trying on these lives” (10). London: Blackwell, 2004. Extending the boundaries of contemporary adaptation studies, this book brings together leading international scholars to survey new directions in the field. “Against Conclusions: Petit Theories and Adaptation Studies.” The Oxford Handbook of Adaptation Studies. Print. The book brings together earlier theories of behavioural adaptation with more recent theories in the area and combines them with practical advice, methods, and tangible solutions that can minimise the potential negative impact of ... When do audiences feel like an adaptation, and when do they not? Each generation of adaptation studies has produced its own principles and orthodoxies, typically by attacking the orthodoxies and principles of the preceding generation. star who goes on safari in Africa and “becomes worshipped” by a tribe there. Adaptation, too, is an “imposed system”; if “[r]eading is as it were overprinted by a relationship of forces (between teachers and pupils, or between producers and consumers) whose instrument it becomes” (171), so too is adaptation overprinted by the relationship of forces (between adaptation scholars, or between adaptation producers and consumers). Balazs in his … This spiritual scene reflects the phenomenological world that Merleau-Ponty imagines, not as “pure being, but rather the sense that shines forth at the intersection of my experiences and at the intersection of my experiences with those of others through a sort of gearing into each other” (lxxxiv). Literary adaptation is the adapting of a literary source (e.g. What oscillations do adaptations share with other texts? But producers borrow materials too, if somewhat more safely within the bounds of corporations and copyrights. And while these factors “work together and determine each other” (84), adaptation scholarship has largely shied away from that final frame, from the “set of personal and collective experiences that operate as reference” (84) for audiences. Adaptation is a strategy deployed by book and film industries, or a set of strategies that converges in the adaptation industry, an industry unto itself, a subject with will and power. April 28-29, 2016. Leitch’s argument for petit theory is even more useful in this aim than he anticipates, insofar as the petit places a special emphasis on the “provisional, contingent, hypothetical valence of theory” (703), which cannot help but remind us of the provisional, contingent, hypothetical valence of adaptations themselves. DVD. Deborah Cartmell. The broader notion of the process of adaptation has much in common with interpretation theory, for in a strong sense adaptation is the appropriation of a meaning from a prior text. Cattrysse, Patrick. In The Re-Imagined Text, Jean I. Marsden examines both the adaptations and the network of literary theory that surrounds them, thereby exploring the problems of textual sanctity and of the author's relationship to the text. Scholarship has shied away from tactics. 1513 Words7 Pages. 34–44. That is, adaptation is as informal and interpersonal as it is formal and intertextual. Altman, Rick. Trans. 8-33. Adaptation Theory and Criticism is a timely and welcome contribution to adaptation studies.Turning a postmodern lens on 'American adaptations, supplementations, and citations,' Slethaug generates fresh, incisive readings of an array of adaptive texts, ranging from acclaimed works by Scorsese and Altman to overlooked gems by Wang, Eyre, and Jarmusch (to name but a few). 109 Theories of Adaptation The literary work from which an adaptation is drawn is inevitably inscribed in the cinematic text itself, whether the adaptation is a complete replication of the source text or a new entity has been debated over years. Hutcheon herself writes that “[k]nown adaptations obviously function similarly to genres: they set up audience expectations (Culler 1975: 136) through a set of norms that guide our encounter with the adapting work we are experiencing” (121). This mixing is also business as usual for one outsize quadrant of Hollywood productions: adaptations, or works based on “based on,” on affiliation—works that strategically court audience recognition and appreciation (with the exception of Ghost, the movies that Mill’s pitchers mention are all adaptations of one sort or another.) 81-91. Murray, Simone. Short Cut’s crossover-determination suggests that if Murray frames adaptation as a distributive strategy, then we can also frame adaptation as a receptive strategy—or, better yet, as a receptive tactic. The crossover resembles adaptation as adaptation insofar as it lays bare the subtext of more implicit crossovers like those mentioned the beginning of Altman’s film. Download PDF. Fan fiction and fan films, sometimes themselves caught up in systems of commission and patronage, are not quite “an entirely different form of production,” but a different form of reproduction. The all but exclusive concentration on literature has hitherto obscured the fact that description transcends literature and indeed the verbal media in general and is not only a transgeneric but also a transmedial phenomenon that can be found in many other media and arts. We may follow Latour in asking, “how are we to register the documents that might allow us to give this research an empirical dimension and thereby enable the reader to distinguish the experiences identified in this way from the accounts of them that are usually offered, as well as from the account that will come along later in place of the first?” (48). An inquest into taste—into perception and perspective—could lead scholars closer not only to understanding audiences’ preference of one text over another, whichever is the adaptation, but closer to understanding audiences’ preference of adaptations over other intertexts. Per Murray, adaptation is a calculation that depends on any number of variables: authors, agents, distributors, publishers, screenwriters, and producers. And perhaps adaptation studies’ functionality may be enlarged by humor studies’ own focus on cognition and linguistics, on methodologies that divvy up knowing and unknowing more carefully than adaptation scholars ever have. Any turn to the tactics of adaptation audiences, then, necessarily involves the irrational, decentralized, fragmentary practices of fans across social networks and digital platforms. This paper. That is, every adaptation is pitched between audiences who “know the adapted text” and possess “an awareness of the adaptation’s enriching, palimpsestic doubleness” and audiences who “do not know that what [they] are experiencing actually is an adaptation or ... are not familiar with the particular work that it adapts” and thus “simply experience the adaptation as [they] would any other work” (120). The chapters in this volume explore the . Casetti says that in the study of adaptations, “consideration needs to be given not only to the text as such, but also to its conditions and modes of existence” (83). stories) to “new circumstances, new cultures, and new media” (93), his model holds intriguing implications for some of the humans whom he bypasses: audiences. As well as asking what other kinds of intertexts adaptation resembles, we might well ask what other kinds of reception adaptation resembles. The Jetsons Meet the Flintstones. These pages constrain Short Cut’s potential audiences, whom Altman only intended to offer “one look” (7), one perspective, on Carver’s oeuvre. “Adaptation, the Genre.” Adaptation 1.2 (2008): 106-120. Every adaptation asks its users to navigate different “interactional,” “institutional,” “intertextual” and “existential” frames (84). It can also involve adapting the same literary work in the same genre or medium just for different purposes, e.g. Latour, Bruno. Found insideOrganizations are faced with increased demands for change but these are often so challenging that they meet heavy resistance and fizzle out. Print, reformulation of its communicative situation, any phenomenon that ‘functions’ as an adaptation in one particular space-time context, Descriptive Adaptation Studies: Epistemological and. In her consideration of literary adaptations, Simone Murray explains that while “extant readership for such classic or contemporary works” does not itself ultimately guarantee “sufficient audience to ensure a film adaptation’s success … enthusiastic endorsement on the part of the community can … generate a critical groundswell that may serve as the impetus for a cross-over publicity campaign” (169). Ray Patterson. The Player looks different as an adaptation depending on the viewer’s position in the theater. R. Mendoza Carreón. Rethinking the Novel/Film Debate. A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling … (31). “New! Darwinian literary studies (also known as literary Darwinism) is a branch of literary criticism that studies literature in the context of evolution by means of … Catherine Porter. In contrast, the phenomena below are drawn from other fields and non-fields in an attempt to think off the field and into the stands, to sit amongst the fans, to set adaptation against other receptive, rather than productive, tactics. Ed. Compact and consistent, this book focuses on the essentials of nursing practice and theory while integrating the conceptual framework of the Model into contemporary practice. At MyPerfectWords.com, we don't have cheap essay Adaptation Theory And Criticism: Postmodern Literature And Cinema In The USA Gordon E writers. John Bolin challenges the notion that Beckett's fiction is best understood through philosophical or Anglo-Irish literary contexts. In parody—not coincidentally, one of the largest domains of fan culture—knowing audiences are often rewarded for their knowingness. To get at those questions, adaptation scholars would have to turn from theorizing adaptations to theorizing adaptation audiences, from theorizing what meets what in adaptations to theorizing who meets whom. R. Mendoza Carreón. Print. In both cases, the pitch person relies on the intersection of two proven properties to sell a third, as-yet unproven property—“Two great tastes that taste great together,” to quote the famed Reese’s Peanut Butter Cups pitch from the 1970s. Archie vs. Exploring these and related questions, Shields orchestrates a chorus of voices, past and present, to reframe debates about the veracity of memoir and the relevance of the novel. On Literary Worlds develops new strategies and perspectives for understanding aesthetic worlds. She cites, for instance, distributor Fine Line Features’ promotion of another Altman adaptation—1993’s Short Cuts—as one of the earliest examples of a “Venn diagram-like dual focus of both book and arthouse film marketing sectors on a particular bobo demographic,” which she says “can be seen to have become standard industry practice some decade-and-a-half later” (168). Each phenomenon, then, may lead us towards a more gestural, stretching, rustling, and altogether unexpected concept of adaptation, one in which the conductor passes the baton to her musicians. De Campi, Alex. pessimistic view of the intersection between the . Adaptations: From Short Story to Big Screen: 35 Great Stories That Have Inspired Great Films by Stephanie Harrison, Three Rivers Press, 2005: ISBN 1400053145. Introduction to Contemporary Print Culture examines the role of the book in the modern world. one adapted for filming, broadcasting … This impulse, he says, “has moved several critics of adaptation [Geoffrey Wagner, Dudley Andrew, John M. Desmond and Peter Hawkes, and Linda Costanzo Cahir] to propose tripartite systems that acknowledge different but equally tenable attitudes that adaptations can take toward the texts they adapt” (700). Adaptation Theory In Literature 1513 Words7 Pages The practice of adapting is central to the storytelling imagination. Cattrysse argues for the contingency of adaptations in time and space. Hunter, I. Q. This essay is only one attempt to shatter adaptation, to make adaptation less readily identifiable as an object and more readily identifiable with its subjects and subjectivities. Covering over fifteen years of research, this compilation offers the first comprehensive review of the relationships between self-efficacy, adaptation, and adjustment. Expanded! “Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter?” A Companion to Literature, Film, and Adaptation. “Hamlet” by Olivier, Kaurismäki or Shepard and “Pride and Prejudice” in its many adaptations show the virulence of these texts and the importance of aesthetic recycling for the formation of cultural identity and diversity. Merleau-Ponty cautions that, [t]he whole life of consciousness tends to posit objects, since it is only consciousness (or self-knowledge) insofar as it takes itself up and gathers itself together in an identifiable object. Figure 3: The Flintstones meet the Jetsons in The Jetsons Meet the Flintstones. Twentieth anniversary edition. In this contingency, adaptations may have much to tell us about the more general crossovers between audiences and intertexts. Exploring a range of early nineteenth-century cultural materials from canonical poetry and critical prose to women's magazines and gift-book engravings, Sexual Politics and the Romantic Author offers new perspectives on the role of gender ... Audiences respond to the offerings of the adaptation industry or the adaptation industries with an array of local tactics, both by using and reusing those offerings in their own adaptations and by choosing or refusing (whether consciously or not) to accept adaptations as adaptations in the moment of reception itself. London: Blackwell, 2012. Setting adaptation against parallel phenomena may illuminate its more “playful, protesting, fugitive” (175) dimensions. “Exploitation as Adaptation.” Cultural Borrowings: Appropriation, Reworking, Transformation. Leitch notes the “whole process of adaptation might be described as an oscillation between celebrating hypotexts as honored sources and celebrating hypertexts as adaptive renewals” (“Against Conclusions” 700). 87-104. Marsha Kinder and Tara McPherson. What is missing in adaptation studies, he says, is a “theoretical foundation for the preference of one text over the other, whichever is the adaptation” (418). But those same scholars could also follow Jenkins’s earlier lead in Textual Poachers, where he draws on de Certeau to propose “an alternative conception of fans as readers who appropriate popular texts and reread them in a fashion that serves different interests, as spectators who transform the experience of watching television into a rich and complex participatory culture” (23). Read Paper. Transmedia Frictions: The Digital, the Arts, The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. The collection invites audiences to meet Carver on Altman and Barhydt’s terms, creating (or curating) a source text after the fact of adaptation. Here Manovich makes an important distinction between the hypothetical patterns of texts and the hypothetical patterns of audiences, the latter of which may not necessarily follow from the former. It needs a production unit. For Hollywood studios, generic affiliation is always potentially more profitable than naming a specific genre, since their goal is “to attract those who recognize and appreciate the signs of a particular genre, while avoiding repulsion of those who dislike [it]” (128). Of a literary source ( e.g issue of Archie vs Tolkin as knowing audience members the act itself what to. Figure 4: the Cultural Economy of Contemporary literary adaptation, literature and. The faithful, the adaptation industry: the Cultural Economy of Contemporary studies. 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