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By Linda Hutcheon

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

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

A thought of edition is the best advisor to this ever evolving box of analysis and is key examining for somebody attracted to model within the context of literary and media stories.

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Extra resources for A Theory of Adaptation

Sample text

Neither the act of looking at and interpreting black marks—words or notes—on a white page nor that of perceiving and interpreting a direct representation of a story on the stage or screen is in any way passive; both are imaginatively, cognitively, and emotionally active. But the move to participatory modes in which we also engage physically with the story and its world—whether it be in a violent action game or a role-playing or puzzle/skill testing one—is not more active but certainly active in a different way.

Short stories, in particular, have often inspired movies; for example, John M. Cunningham’s 1947 “The Tin Star” became Fred Zinneman and Carl Forman’s 1952 film High Noon. Short story adaptations have had to expand their source material considerably. ” They took a contemporary prologue from Carter’s own earlier radio play adaptation to set up the dream logic of the piece. Screenwriter Noel Baker similarly described his attempt to take “a whisper of a movie idea” and make it into a feature film. He had been asked to adapt not a short 20 A Theory of Adaptation story but, in fact, Michael Turner’s book Hard Core Logo (1993), but this book is a fragmentary narrative about the reunion of a 1980s punk band that is made up of letters, songs, answering machine messages, invoices, photos, hand-written notes, diary entries, contracts, and so on.

But, from a pragmatic point of view, such vast definition would clearly make adaptation rather difficult to theorize. My more restricted double definition of adaptation as process and product is closer to the common usage of the word and is broad enough to allow me to treat not just films and stage productions, but also musical arrangements and song covers, visual art revisitations of prior works and comic book versions of history, poems put to music and remakes of films, and videogames and interactive art.

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