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Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of culture—any discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed ‘Paradoxes of Fidelity’, ‘Authors, Auteurs, Adaptation’, ‘Contexts, Intertexts, Adaptation’ and ‘Beyond Adaptation’, variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, ‘The Dead’ or Wuthering Heights, to contemporary (popular) texts/films like Bridget Jones’s Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time.
Adaptation, Intertextuality, Authorship
Series:
Contemporary Cinema, Volume: 2
Volume Editor:
Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of culture—any discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed ‘Paradoxes of Fidelity’, ‘Authors, Auteurs, Adaptation’, ‘Contexts, Intertexts, Adaptation’ and ‘Beyond Adaptation’, variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, ‘The Dead’ or Wuthering Heights, to contemporary (popular) texts/films like Bridget Jones’s Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time.
Theories, Histories, Practices
Series:
Themes in Theatre, Volume: 11
World Political Theatre and Performance: Theories, Histories, Practices is the second collection of essays to emerge from the Political Performances Working Group at the International Federation for Theatre Research. Bringing together scholars and practitioners from multiple locations, the book analyses a range of examples – historical and contemporary – of counter-hegemonic theatre and performance.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.
Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.
Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.
Theories, Histories, Practices
Series:
Themes in Theatre, Volume: 11
World Political Theatre and Performance: Theories, Histories, Practices is the second collection of essays to emerge from the Political Performances Working Group at the International Federation for Theatre Research. Bringing together scholars and practitioners from multiple locations, the book analyses a range of examples – historical and contemporary – of counter-hegemonic theatre and performance.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.
Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.
Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.