By Linda Hutcheon
Are we dwelling within the age of model? In modern cinema, in fact, there are sufficient variations --based on every little thing from comedian books to the novels of Jane Austen--to make us ponder whether Hollywood has run out of latest tales. but when you think that model will be understood through the use of novels and movies on my own, you're mistaken. at the present time there also are tune covers emerging up the pop charts, game models of fairy stories, or even curler coasters in accordance with profitable motion picture franchises.
Despite their attractiveness, despite the fact that, diversifications tend to be taken care of as secondary and by-product. even if within the type of a Broadway musical or a success tv convey, variations are nearly necessarily considered as not so good as the "original." yet are they?
Here, popular literary pupil Linda Hutcheon explores the ubiquity of variations in all their quite a few media incarnations--and demanding situations their consistent serious denigration. edition, Hutcheon argues, has regularly been a critical mode of the story--telling mind's eye and merits to be studied in all its breadth and variety as either a method (of production and reception) and a product unto its personal.
Persuasive and illuminating, A idea of edition is a daring rethinking of the way edition works throughout all media and genres that could positioned an finish to the age--old query of no matter if the publication was once greater than the motion picture, or the opera, or the subject park.
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Extra info for A Theory of Adaptation
Although my main focus is on adaptations’ different modes of engagement, the medium—as the material means of expression of an adaptation—is crucially important. T. Mitchell reminds us, “The medium does not lie between sender and receiver; it includes and constitutes them” (2005: 204; see also Williams 1977). My emphasis on adaptation as process (as well as product) means that the social and communication dimensions of media are important too, even when the particular emphasis, as in this chapter, is on form.
For instance, when later writers reworked—for radio, stage, and even screen—John Buchan’s 1914 novel, The ThirtyNine Steps, they often adapted Alfred Hitchcock’s dark and cynical 1935 film adaptation along with the novel (Glancy 2003: 99–100). And films about Dracula today are as often seen as adaptations of other earlier films as they are of Bram Stoker’s novel. The Audience’s “Palimpsestuous” Intertextuality For audiences, such adaptations are obviously “multilaminated”; they are directly and openly connected to recognizable other works, and that connection is part of their formal identity, but also of what we might call their hermeneutic identity.
In effect, the film became, for him, as much the text to be adapted as was the lived event preserved in either his memory or the media coverage. In ontological shifts, it makes little sense to talk about adaptations as “historically accurate” or “historically inaccurate” in the usual sense. Schindler’s List is not Shoah (see Hansen 2001) in part because it is an adaptation of a novel by Thomas Keneally, which is itself based on survivor testimony. In other words, it is a paraphrase or translation of a particular other text, a particular interpretation of history.
A Theory of Adaptation by Linda Hutcheon