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Adaptations in the Franchise Era re-evaluates adaptation's place in a popular culture marked by the movement of content and audiences across more media borders than ever before. While adaptation has historically been understood as the transfer of stories from one medium to another-more often than not, from novel to film-the growing interconnectedness of media and media industries in the early twenty-first century raises new questions about the form and function of adaptation as both a product and a process. Where does adaptation fit within massive franchises that span pages, stages, screens, and theme parks? Rising scholar Kyle Meikle illuminates adaptation's enduring and essential role in the rise of franchises in the 2000s and 2010s. During that decade-and-a-half, adaptations set the foundation for multiplexed, multiplied film series, piloted streaming television's forays into original programming, found their way into audiences' hands in apps and video games, and went live in theatrical experiences on Broadway and beyond. The proliferation of adaptations was matched only by a proliferation of adaptation, as fans remixed and remade their favourite franchises online and off-. This volume considers how producers and consumers defined adaptations-and how adaptations defined themselves-through the endless intertextual play of the franchise era.
Fans and the billion-dollar franchises in which they participate have together become powerful agents within popular culture. These franchises have launched avenues for fans to expand and influence the stories that they tell. This book examines those fan-driven narratives as "wilderness texts," in which fans use their platforms to create for themselves while also communicating their visions to the franchises, thus spurring innovation. The essays in this collection look at how fans intervene in the production of mass media. Scholars analyze the negotiations between fan desires for both novelty and familiarity that franchises must maintain in order to achieve critical and commercial success. Applying varying theoretical approaches to discussions of fan responses to franchises, including Star Wars, Marvel, Godzilla, Firefly, The Terminator, Star Trek, DC, and The Muppets, these essays provide insight into the ever-changing relationships between fandom and transmedia storytelling.
"Adaptations: Critical and Primary Sources is a three-volume reference resource that brings together over 80 landmark texts in adaptation studies. Volume One covers the history of adaptation studies, by plotting the 'prehistory' of the field, beginning with Vachel Lindsay's classic Art of the Moving Picture (1915), through Virginia Woolf's classic essay on 'The Cinema' through to some of the most important critical and theoretical interventions up until the 1990s when the area really emerges as a critical force in the academy. Volume Two collects essays from the last 25 years, showing how the scholarly legacy laid out in Volume One still has a profound impact on adaptation studies today, while charting the process of critical and theoretical maturation. This volume shows how adaptations studies has outgrown its contested place 'in the gap' of film and literary studies and how its interventions transcend disciplinary perspectives across the arts and humanities. Volume Three covers key case studies, such as Christine Geraghty's take on adapting Westerns, Ian Inglis' understanding of the transformation of music into movies, and Eckart Voigts' concept on Jane Austen and participatory culture. With topics ranging from the limitations of the novel to adapting stage to screen, contributions from a wide range of international scholars, film critics and novelists combine to make Adaptations: Critical and Primary Sources an original overview of critical debates today. Cartmell and Whelehan introduce each excerpt and offer a critical overview of the collected work, the rationale for its inclusion and suggestions for further reading."--
As Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. This edited collection, from a range of international scholars, argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution and marketing of franchises as a historical form of media-making - analysing the complex industrial practice of managing franchises across interconnected online platforms. Examining how traditional media incumbents like studios and networks have responded to the rise of new entrants from the technology sector (such as Facebook, Apple, Amazon, Netflix and Google), the authors take a critical look at the way new and old industrial logics collide in an increasingly fragmented and consolidated mediascape.
As Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. This edited collection, from a range of international scholars, argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution and marketing of franchises as a historical form of media-making - analysing the complex industrial practice of managing franchises across interconnected online platforms. Examining how traditional media incumbents like studios and networks have responded to the rise of new entrants from the technology sector (such as Facebook, Apple, Amazon, Netflix and Google), the authors take a critical look at the way new and old industrial logics collide in an increasingly fragmented and consolidated mediascape.
How copyright law and the practice of narrative-based property development influenced each other before 1978
This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters. Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/
Introduction to Contemporary Print Culture examines the role of the book in the modern world. It considers the book’s deeply intertwined relationships with other media through ownership structures, copyright and adaptation, the constantly shifting roles of authors, publishers and readers in the digital ecosystem and the merging of print and digital technologies in contemporary understandings of the book object. Divided into three parts, the book first introduces students to various theories and methods for understanding print culture, demonstrating how the study of the book has grown out of longstanding academic disciplines. The second part surveys key sectors of the contemporary book world – from independent and alternative publishers to editors, booksellers, readers and libraries – focusing on topical debates. In the final part, digital technologies take centre stage as eBook regimes and mass-digitisation projects are examined for what they reveal about information power and access in the twenty-first century. This book provides a fascinating and informative introduction for students of all levels in publishing studies, book history, literature and English, media, communication and cultural studies, cultural sociology, librarianship and archival studies and digital humanities.
Adaptation Before Cinema highlights a range of pre-cinematic media forms, including theater, novelization, painting and illustration, transmedia art, children’s media, and other literary and visual culture. The book expands the primary scholarly audience of adaptation studies from film and media scholars to literary scholars and cultural critics working across a range of historical periods, genres, forms, and media. In doing so, it underscores the creative diversity of cultural adaptation practiced before cinema came to dominate the critical conversation on adaptation. Collectively, the chapters construct critical bridges between literary history and contemporary media studies, foregrounding diverse practices of adaptation and providing a platform for innovative critical approaches to adaptation, appropriation, or transmedia storytelling popular from the Middle Ages through the invention of cinema. At the same time, they illustrate how these forms of adaptation not only influenced the cinematic adaptation industry of the twentieth century but also continue to inform adaptation practices in the twenty-first century transmedia landscape. Written by scholars with expertise in historical, literary, and cultural scholarship ranging from the medieval period through the nineteenth century, the chapters use discourses developed in contemporary adaptation studies to shed new lights on their respective historical fields, authors, and art forms.
From film and television theory to intertextuality, poststructuralism to queer theory, postcolonialism to meme theory, a host of contemporary theories in the humanities have engaged with adaptation studies. Yet theorizing adaptation has been deemed problematic in the humanities' theoretical and disciplinary wars, been charged with political incorrectness by both conservative and radical scholars, and declared outdated and painfully behind the times compared to other disciplines. And even separate from these problems of theorization is adaptation's subject matter - with many film adaptations of literature widely and simply declared "bad." In this thorough and groundbreaking study, author Kamilla Elliott works to detail and redress the problem of theorizing adaptation. She offers the first cross-disciplinary history of theorizing adaptation in the humanities, extending back in time to the sixteenth century - revealing that before the late eighteenth century, adaptation was valued and even celebrated for its contributions to cultural progress before its eventual - and ongoing - marginalization. Elliott also presents a discussion of humanities theorization as a process, arguing the need to rethink how theorization functions within humanities disciplines and configure a new relationship between theorization and adaptation, and then examines how rhetoric may work to repair this difficult relationship. Ultimately, Theorizing Adaptation seeks to find shared ground upon which adaptation scholars can dialogue and debate productively across disciplinary, cultural, and theoretical borders, without requiring theoretical assent or uniformity.