Communication Media Studies

New PDF release: A Theory of Adaptation

By Linda Hutcheon

ISBN-10: 0415539374

ISBN-13: 9780415539371

A conception of model explores the continual improvement of artistic edition, and argues that the perform of adapting is vital to the story-telling mind's eye. Linda Hutcheon develops a thought of edition via a number media, from movie and opera, to games, pop track and topic parks, analysing the breadth, scope and artistic chances inside each.

This re-creation is supplemented through a brand new preface from the writer, discussing either new adaptive forms/platforms and up to date severe advancements within the learn of edition. It additionally good points an illuminating new epilogue from Siobhan O’Flynn, targeting version within the context of electronic media. She considers the impression of transmedia practices and homes at the shape and perform of variation, in addition to learning the extension of online game narrative throughout media systems, fan-based variation (from Twitter and fb to domestic movies), and the difference of books to electronic formats.

A conception of model is the best consultant to this ever evolving box of analysis and is vital examining for a person drawn to edition within the context of literary and media experiences.

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Example text

Whatever the motive, from the adapter’s perspective, adaptation is an act of appropriating or salvaging, and this is always a double process of interpreting and then creating something new. If this sounds somewhat familiar, there is good reason, given the long history in the West of imitatio or mimesis—imitation—as what Aristotle saw as part of the instinctive behavior of humans and the source of their pleasure in art (Wittkower 1965: 143). 2]), though it did both. It was also a form of creativity: “Imitatio is neither plagiarism nor a flaw in the constitution of Latin literature.

Adaptations such as film remakes can even be seen as mixed in intent: “contested homage” (Greenberg 1998: 115), Oedipally envious and worshipful at the same time (Horton and McDougal 1998b: 8). If the idea of fidelity should not frame any theorizing of adaptation today, what should? According to its dictionary meaning, “to adapt” is to adjust, to alter, to make suitable. This can be done in any number of ways. As the next section will explore in more depth, the phenomenon of adaptation can be defined from three distinct but interrelated perspectives, for I take it as no accident that we use the same word—adaptation—to refer to the process and the product.

In all cases, the engagements with these other works in adaptations are extended ones, not passing allusions. Part of both the pleasure and the frustration of experiencing an adaptation is the familiarity bred through repetition and memory. Depending on our relationship with any of the traditionally choreographed versions of Tchaikovsky’s 1877 ballet, Swan Lake (and there 22 A Theory of Adaptation are many of these, from the Petipa/Ivanov one to its reworkings by Ashton and Dowell), we will be either delighted or irritated by Matthew Bourne’s adaptation, with its updating and queer ironizing of the popular classical ballet.

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A Theory of Adaptation by Linda Hutcheon


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