Adaptation-The Journal of Literature on Screen Studies最新文献_第3页

‘What is it?’ ‘It is a lewd goblin’: Taking Critical Cues from Illustrative Adaptations of Christina Rossetti’s Goblin Market “是什么？”这是一个淫荡的妖精：从克里斯蒂娜·罗塞蒂的《妖精市场》的插图改编中获得关键提示

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-07-01 DOI: 10.1093/adaptation/apad015

Kristen Layne Figgins

引用次数: 0

Immersion vs. Engaged Interactivity in The Autobiography of Jane Eyre’s Storyworld; Or What We Can Learn from Paratextual Traces 简·爱故事世界自传中的沉浸与互动；或者我们可以从Paratextive Traces中学到什么

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-06-27 DOI: 10.1093/adaptation/apad016

Kate Faber Oestreich

{"title":"Immersion vs. Engaged Interactivity in The Autobiography of Jane Eyre’s Storyworld; Or What We Can Learn from Paratextual Traces","authors":"Kate Faber Oestreich","doi":"10.1093/adaptation/apad016","DOIUrl":"https://doi.org/10.1093/adaptation/apad016","url":null,"abstract":"\u0000 This paper uses The Autobiography of Jane Eyre (Nessa Aref and Alysson Hall’s 2013–2014 transmedia adaptation of Charlotte Brontë’s Jane Eyre, hereafter AoJE) to explore the impact of characters’ social media accounts on user interactivity and immersion. AoJE employs the powers of social media to create a modernized and fully-fledged storyworld, yet the users’ overall experience is undermined by the very strategies meant to facilitate engaged interactivity. When social media posts become sites where users not only actively seek additional content but also ‘read’ traces of other users’ interactions with the content, those traces function as paratextual commentary, creating dialogic metaphors. In AoJE, the characters’ social media accounts demand that users remain in a near constant state of metalepsis by accepting and even inverting several previously accepted ontological binaries: character/actor, reader/writer, passive/active, immersive/interactive. The effort required by users to interact successfully with the various platforms additionally underscores the difficulty of consuming (and prosuming) a story that unfolds over multiple platforms, especially once the social media components no longer exist in the immediate present.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46369480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘There’s Got to Be a Better Ending than That’: Enacting Agency in Film Adaptations of Romeo and Juliet for Children “一定会有比这更好的结局”:《罗密欧与朱丽叶》儿童电影改编的代理机构

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-06-17 DOI: 10.1093/adaptation/apad013

Rebecca Rowe

{"title":"‘There’s Got to Be a Better Ending than That’: Enacting Agency in Film Adaptations of Romeo and Juliet for Children","authors":"Rebecca Rowe","doi":"10.1093/adaptation/apad013","DOIUrl":"https://doi.org/10.1093/adaptation/apad013","url":null,"abstract":"\u0000 William Shakespeare’s Romeo and Juliet (1597) is a play that supposedly focuses on young people, yet, when the play is adapted into the family film format, creators make some rather drastic changes for their young audience, changes that are often belittled by scholars and critics alike, especially when the films end happily. The Lion King II (1998) and Gnomeo and Juliet (2011) are perfect examples of how such adaptations can play with genre and audience in significantly more sophisticated ways than scholars often acknowledge. I argue that these films rescript the intergenerational tragedy of Shakespeare’s Romeo and Juliet in order to show how youth hold the power to change their societies, an empowering message that resonates with the family film format. In this article, I note three major changes that work towards empowering young viewers: First, the films free Shakespeare’s Juliet from her confinement so that she can become an active part in her own society. Second, the films highlight the problem with the parents’ over-protectiveness. Finally, the lovers’ survival shifts the result of their romance from stilted love and uneasy peace to societal change. These accumulating elements suggest that the happy endings do more than simply bowdlerize but rather accomplish the films’ systemic goal of fostering youth agency. Ultimately, my analysis of these films suggests a new interpretation of adaptations of canonical texts made for children that places these changes within wider discussions of childhood instead of bemoaning changes to a centuries-old text.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Intertextual Outlawry: Robin Hood and Race in We Need to Talk About Kevin 互文放逐:《我们需要谈谈凯文》中的罗宾汉和种族

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-05-29 DOI: 10.1093/adaptation/apad014

Jason Hogue

引用次数: 0

The Literary-Inspired Web Series, Dickens and LGBTQIA+ Representation: Public History—A David Copperfield Web Series (2019–20) 受文学启发的网络系列，狄更斯和LGBTQIA+代表：公共历史——大卫·科波菲尔网络系列（2019-20）

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-05-19 DOI: 10.1093/adaptation/apad005

Chris Louttit

{"title":"The Literary-Inspired Web Series, Dickens and LGBTQIA+ Representation: Public History—A David Copperfield Web Series (2019–20)","authors":"Chris Louttit","doi":"10.1093/adaptation/apad005","DOIUrl":"https://doi.org/10.1093/adaptation/apad005","url":null,"abstract":"\u0000 Web series adaptations of the classics have been a familiar part of digital popular culture since the watershed appearance of The Lizzie Bennet Diaries (2012–13). Adaptation critics, including Douglas M. Lanier, Jennifer Camden, and Kate Faber Oestrich, have tended to focus on relatively high-profile Austen and Shakespeare vlog adaptations, especially those produced by Pemberley Digital. In this article, I update the genre’s genealogy by turning instead to later waves of low-budget creativity that have taken this transmedia form in new directions since the peak years of the literary-inspired web series in the mid-2010s. I pay particular attention to Quip Modest’s Public History–A David Copperfield Web Series (2019–20), a relatively rare example of a Dickens adaptation in the web series format which remoulds the multi-generational three-decker saga into an LGBTQIA+ positive coming-of-age narrative for the Generation Z audience. My contextualised close reading of the adaptation simultaneously reframes our understanding of Dickens’s digital canonicity and helps us better grasp the cultural logic of the literary web series adaptation community.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42100261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Engaging with an Imperfect Past: Simultaneity and the Many Stories within Director Rashid Johnson’s Native Son 与不完美的过去接触：导演拉希德·约翰逊的《土生子》中的同时性和许多故事

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-04-27 DOI: 10.1093/adaptation/apad004

K. McClain

引用次数: 1

‘Now you are Robin Hood: Prince of Thieves™’: Intermedial Medievalism 现在你是罗宾汉：盗贼王子™’: 中世纪中期主义

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-04-26 DOI: 10.1093/adaptation/apad002

Tess Watterson

{"title":"‘Now you are Robin Hood: Prince of Thieves™’: Intermedial Medievalism","authors":"Tess Watterson","doi":"10.1093/adaptation/apad002","DOIUrl":"https://doi.org/10.1093/adaptation/apad002","url":null,"abstract":"\u0000 The 1991 Robin Hood: Prince of Thieves console video game constitutes a significantly different vision of the Middle Ages than the blockbuster film upon which it was based. Prince of Thieves is one among a prolific tradition of Robin Hood-themed digital games, which produce anew a legend that has thrived across intermedial networks of representation since the Middle Ages. The game represents a desire to transform popular medievalist narratives into play formats, but also the entwined and invested relationship between Hollywood and the game industry over the last half-century. This article will analyse how three core thematic elements of the game are inherently shifted in the adaptation process: the range of perspectives reduced by a first-person game, the modes of violence, and the role of familial relationships. The game is more than just a remediated version of the same story, as its adaptation process is a result of not only the medievalist tradition of Robin Hood and a connection to this film but also of the history of the action-adventure game genre and movie-adaptation games. This article will argue that the context of video game adaptation and genre conventions shape the way this text operates as a piece of franchise media, and that these constraints or choices in the game’s design in turn shape the production of vastly different historical meanings.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49338181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Transmedia Adaptation and Transmedia Practices in the Long Nineteenth Century 十九世纪的跨媒体适应与跨媒体实践

IF 0.3 2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-04-08 DOI: 10.1093/adaptation/apad007

Antonija Primorac

引用次数: 0

‘Gregor, are you Unstable? Check your Bandwidth…’: Adapting Kafka for Zoom in Hijinx Theatre’s Metamorphosis “格里高尔，你精神不稳定吗?”检查你的带宽……”:在Hijinx剧院的《变形记》中为变焦改编卡夫卡

2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-04-08 DOI: 10.1093/adaptation/apad003

Benjamin Broadribb

{"title":"‘Gregor, are you Unstable? Check your Bandwidth…’: Adapting Kafka for Zoom in Hijinx Theatre’s Metamorphosis","authors":"Benjamin Broadribb","doi":"10.1093/adaptation/apad003","DOIUrl":"https://doi.org/10.1093/adaptation/apad003","url":null,"abstract":"Abstract First performed live via Zoom in August 2020, Hijinx Theatre’s Metamorphosis was overtly tied to the cultural moment of the COVID-19 pandemic, offering a sense of shifting between perspectives on reality in its adaptation of Franz Kafka’s 1915 novella. The production itself appeared to be in a continual state of transformation: it shifted between scenes adapted from the novella, ‘behind-the-scenes’ vignettes in which the cast played fictionalised versions of themselves, and interactive interludes hosted by a compère-like character known as ‘the barman’. This article explores the effect of adapting Kafka’s story for the world of 2020 not only through the innovative ways in which Hijinx engaged with Zoom performance through their production at a time when experimentation with the platform as a theatrical space/medium was still very much in its infancy; but also through the manner in which the company adapted Kafka’s novella to reflect the cultural moment of the early months of lockdown. In doing so, this article considers the ways in which Hijinx’s Metamorphosis mercurially embodied both the hopelessness of life at the height of lockdown, and the optimism of being able to emerge from the tragedy and loss of the pandemic into a world with renewed hope.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":"154 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135647907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Brick-Built Sea: Adapting the Odyssey in LEGO 积木建造的海洋:改编乐高的奥德赛

2区文学

Adaptation-The Journal of Literature on Screen Studies Pub Date : 2023-04-08 DOI: 10.1093/adaptation/apad006

Justin Muchnick

引用次数: 0