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This is the 2nd edition with a publication date of 8/27/2012.
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A Theory of Adaptationexplores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. This new edition is supplemented by a new preface from the author, discussing both new adaptive forms/platforms and recent critical developments in the study of adaptation. It also features an illuminating new epilogue from Siobhan O'Flynn, focusing on adaptation in the context of digital media. She considers the impact of transmedia practices and properties on the form and practice of adaptation, as well as studying the extension of game narrative across media platforms, fan-based adaptation (from Twitter and Facebook to home movies), and the adaptation of books to digital formats. A Theory of Adaptationis the ideal guide to this ever evolving field of study and is essential reading for anyone interested in adaptation in the context of literary and media studies.
Linda Hutcheon is Distinguished University Professor Emeritus of English, and Comparative Literature at the University of Toronto, Canada. Siobhan O'flynn is Senior Lecturer in the Canadian Studies of Toronto, Canada, and Adjunct Graduate Faculty in the OCADU/CFC Media Lab Digital Futures Masters Program at the Canadian Film Centre's Media Lab.
Table of Contents
|List of illustrations||p. xi|
|Preface to the first edition||p. xiii|
|Preface to the second edition||p. xix|
|Beginning to Theorize Adaptation: What? Who? Why? How? Where? When?||p. 1|
|Familiarity and Contempt||p. 2|
|Treating Adaptations as Adaptations||p. 6|
|Exactly What Gets Adapted? How?||p. 9|
|Double Vision: Defining Adaptation||p. 15|
|Adaptation as Product Announced, Extensive, Specific Transcoding||p. 16|
|Adaptation as Process||p. 18|
|Modes of Engagement||p. 22|
|Framing Adaptation||p. 27|
|What? (Forms)||p. 33|
|Medium Specificity Revisited||p. 33|
|Telling ←→ Showing||p. 38|
|Showing ←→ Showing||p. 46|
|Interacting ←→ Telling or Showing||p. 50|
|Cliché #1||p. 52|
|Cliché #2||p. 56|
|Cliché #3||p. 63|
|Cliché #4||p. 68|
|Learning from Practice||p. 72|
|Who? Why? (Adapters)||p. 79|
|Who is the Adapter?||p. 80|
|Why Adapt?||p. 85|
|The Economic Lures||p. 86|
|The Legal Constraints||p. 88|
|Cultural Capital||p. 91|
|Personal and Political Motives||p. 92|
|Learning from Practice||p. 95|
|Intentionality in Adaptations||p. 105|
|How? (Audiences)||p. 113|
|The pleasures of Adaptation||p. 114|
|Knowing and Unknowing Audiences||p. 120|
|Modes of Engagement Revisited||p. 128|
|Kinds and Degrees of Immersion||p. 133|
|Where? When? (Contexts)||p. 141|
|The Vastness of Context||p. 142|
|Transcultural Adaptation||p. 145|
|Learning from Practice||p. 153|
|Why Carmen?||p. 153|
|The Carmen Story-and Stereotype||p. 154|
|Indigenizing Carmen||p. 158|
|Final Questions||p. 169|
|What Is Not an Adaptation?||p. 170|
|What Is the Appeal of Adaptations?||p. 172|
|Table of Contents provided by Ingram. All Rights Reserved.|