Hybrid journal (It can contain Open Access articles) ISSN (Print) 1755-0637 - ISSN (Online) 1755-0645 Published by Oxford University Press[419 journals]
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Pages: 309 - 312 Abstract: The Tragedy of Macbeth. Dir. Joel Coen. Perf. Denzel Washington, Frances McDormand, Alex Hassell, Kathryn Hunter. A24, 2021. PubDate: Wed, 30 Mar 2022 00:00:00 GMT DOI: 10.1093/adaptation/apac003 Issue No:Vol. 15, No. 2 (2022)
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Pages: 313 - 315 Abstract: Wells-LassagneShannon and McMahonFiona, eds. Adapting Margaret Atwood: The Handmaid’s Tale and Beyond. Palgrave Macmillan, 2021. pp. 266, £24.99. ISBN 978-3-030-73685-9 PubDate: Tue, 31 May 2022 00:00:00 GMT DOI: 10.1093/adaptation/apac006 Issue No:Vol. 15, No. 2 (2022)
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Pages: 149 - 170 Abstract: AbstractThis article will offer a close reading of two Warner Bros. direct-to-video animated features—Tom and Jerry & the Wizard of Oz (2011) and Tom and Jerry: Back to Oz (2016)—as an example of the transmedia tendencies of studios in the conglomerate era. Although The Wizard of Oz (1939) and Tom and Jerry were originally MGM productions, the modern distribution of these works provides an insight into the complicated post-‘Golden Age’ trajectories of studio archives. Ted Turner’s brief takeover of MGM in the mid-1980s stripped the studio of many of its assets, while the merger of Turner’s company with Warner Bros. in 1996 brought these MGM properties under Warner control. The Tom and Jerry/Wizard of Oz crossover films heavily reference the 1939 MGM movie (the songs, the ruby slippers, and so on)—something that other adaptations of Baum’s novels have not been permitted to do. This paper will suggest that these new extensions of old brands subtly rewrite MGM’s industrial history in favour of establishing them as Warner Bros. franchises, while also re-establishing the brand identity of the 1939 film at a time where Oz adaptations are facing greater competition, particularly from the successful stage musical Wicked (2003). PubDate: Mon, 16 Aug 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab014 Issue No:Vol. 15, No. 2 (2021)
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Pages: 171 - 186 Abstract: AbstractDiscussing Enemy (2013), his adaptation of Portuguese novelist José Saramago’s The Double (2002), French-Canadian filmmaker Denis Villeneuve remarks: ‘the best way to respect an author is to be very honest about the way you adapted [their work] and to totally destroy the original and make it your own’. Villeneuve’s recreative (translational) use of ‘respect’ reverberates intertextually with André Bazin’s description of respect-based fidelity. For Bazin, utterly faithful yet completely original adaptations could be achieved through ‘a ceaselessly creative respect’ in which faithfulness and unfaithfulness paradoxically converge in translational acts of recreation. I term this paradoxical doubling the paradox of adaptation in Bazin. In part 1 of this article, I explore how Bazin illustrates that paradox in his essays about adaptation with examples of translation, and particularly with examples of Baudelaire’s and Mallarmé’s translations of Edgar Allan Poe (an emblem of intertextual rewriting in French literature). Bazin’s references to translation provide an aperture into a wider understanding of adaptation’s intertextual and heteroglossic nature. Bazinian adaptations are faithful reconstructions and unfaithful transformations. As I discus in part 2 of this essay, Villeneuve capitalizes on this paradox in his recreative translation of The Double. The film reflects and ‘destroys’ (as Villeneuve would say) Saramago’s novel in order to recreate it. Through its re-theorization of Bazin’s fidelity as a translational prism of recreation, this essay contributes to the ‘resurgence of (pro)fidelity criticism’ (Hermansson) as well as to ongoing calls (Krebs, Venuti) for greater attention to the hermeneutic synergy between translation and adaptation studies. PubDate: Tue, 21 Sep 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab017 Issue No:Vol. 15, No. 2 (2021)
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Pages: 187 - 206 Abstract: AbstractThis article formally introduces the ‘intellectual property show’ concept currently inciting heated discussions among Chinese media studies scholars into English-language academia. Intellectual property show, a Chinese term generally referring to television shows adapted from internet fiction (and to a secondary extent, video games), explicitly suggests an adaptation form and logic particular to an environment characterized by converging media and digital transformations of cultural production. Using the 2019 Chinese hit show All is Well, adapted from an internet novel with the same name, I approach intellectual property show as a media artefact situated at the volatile convergence of political demand, business interest, and new media affordances through adopting an integrative approach to contemporary adaptations in China. By attending to both the material context of production and the media text itself, I join the current explorations in adaptation studies for methods that answer the why and how of adaptation. PubDate: Mon, 08 Mar 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab002 Issue No:Vol. 15, No. 2 (2021)
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Pages: 207 - 227 Abstract: AbstractThe Ishiguro archive in the Harry Ransom Center in Austin houses Ishiguro’s extensive research on Japanese ghost stories and films from his early film writing, revealing his fascination with Kenji Mizoguchi’s Ugetsu Monogatari and Sansho Dayu. This article explores Kazuo Ishiguro’s references to Ugetsu in The Buried Giant to reflect on the realistic portrayal of ghosts as a way to reveal a suppressed pagan narrative. Using materials from the Ishiguro archive, I argue that Ishiguro borrows tactics from Ugetsu and then incorporates the Japanese Buddhist myth and folklore underlying Sansho Dayu to build a hidden discourse of the dead that subverts the dominant discourse of God, creating an implicit supernatural plot that parallels the novel’s explicit realistic plot and that decentres Britain’s national beliefs. PubDate: Wed, 26 May 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab010 Issue No:Vol. 15, No. 2 (2021)
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Pages: 228 - 243 Abstract: AbstractIn this article, I will explore how the character of Victoria is represented in the British made-for-television film, Frankenstein (Jed Mercurio, 2007) and the US horror movie, The Frankenstein Syndrome (Scott Tretta, 2011). By approaching these productions through the lens of adaptation theory and, more specifically, via the concept of a re-vision, I will argue that we can better understand the ways in which they mutate the long-standing (though frequently updated) Frankenstein story. As intertexts that interrogate previous cinema and television versions, their focus on female synthetic biologists whose pioneering stem-cell research takes place within a capitalist biomedical framework is particularly innovative. As such, they disrupt the patriarchal paradigm upon which the Frankensteinian filmic tradition has, historically, been established. Most notably, both films celebrate maternality, personal responsibility, and compassion as key values for those who are involved in the biotechnological creation of life. PubDate: Mon, 31 May 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab012 Issue No:Vol. 15, No. 2 (2021)
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Pages: 244 - 263 Abstract: AbstractIn this article, I provide a close reading of Season 1 of the neo-Victorian TV series Carnival Row as both an ambivalent postcolonial and neo-passing narrative. I first draw on previous criticism on postcolonial neo-Victorianism and turn-of-the-century American passing novels in order to analyze Carnival Row’s contradictory revision of imperial London through its re-imagining in a fictional city named The Burgue. I then explore the conflicting ways in which the series tackles (neo-)imperialism and colonialization, as it simultaneously criticizes and reproduces imperial ideologies and stereotypes of the racial Other. Finally, I argue that Carnival Row seems to offer a new take on American passing novels by allowing Philo, the mixed-race male protagonist, to embrace his biracial nature without meeting a tragic fate at the end of Season 1. Nonetheless, by choosing a White actor (Orlando Bloom) to play the role of the passer, the series culturally appropriates a form of Black oppression for the entertainment of a White audience. Thus, despite the series’ well-intentioned attempts to criticize (neo-)imperial, racist, and xenophobic practices, it ultimately perpetuates—rather than subverts—those very same ideologies. PubDate: Thu, 07 Oct 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab018 Issue No:Vol. 15, No. 2 (2021)
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Pages: 264 - 284 Abstract: AbstractThis article discusses the TV series The Wilds (Amazon Prime, 2020) as an adaptational experiment with Shakespeare’s The Tempest in several respects: as one of the latest complex TV shows to engage with the Shakespearean legacy, it experiments with the serialization of Shakespeare’s plot. Further, being an ‘unmarked’ adaptation that never directly refers to Shakespeare, it tests the limits as to what is ‘Shakespeare’ and what is ‘not Shakespeare’ or ‘no longer Shakespeare’ in the adaptational rhizome created by The Tempest and its reworkings, among which Lord of the Flies, Brave New World, and the TV series Lost are of particular importance for The Wilds. Changing Shakespeare’s character constellation to an all-female group of teenage castaways overseen by a female social scientist modelled on Prospero who seeks to overcome master narratives of fraternal power struggles, colonial exploitation, and patriarchal sexual oppression, The Wilds tests which changes the Shakespeare material can and perhaps needs to undergo to continue to have cultural meaning today. As part of this radical re-gendering, the series multiplies and collates Miranda, Ariel, and Caliban to interrogate contemporary girlhood and the future of intersectional feminism. The article concludes by assessing how the series appeals to differently knowing viewers, some of whom will feel invited to partake in the Tempest experiment, while others will lose Shakespeare’s tracks in The Wilds. PubDate: Fri, 29 Oct 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab019 Issue No:Vol. 15, No. 2 (2021)
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Pages: 285 - 303 Abstract: AbstractThe title of Oldroyd’s taut thriller, Lady Macbeth (2016), invites audiences to approach the film intertextually. For a small number of viewers familiar with Nikolai Leskov’s 1865 novella Lady Macbeth of Mtsensk, from which the film draws its main inspiration, Shakespeare’s more well-known character will recede into a position of secondary importance. For the majority of viewers, however, a more direct relationship with Shakespeare will be assumed: is Oldroyd’s film an adaptation of the 1606 play' Is it an appropriation of the play’s famous character' Although such questions about an artwork’s relationship to previous texts can seem largely academic, in the case of Oldroyd’s film, they might reasonably be said to be inevitable and, therefore, potentially central to the work’s meaning. Adaptation scholars often struggle to classify such cases—since the line between what we call adaptations and what we call appropriations remains somewhat blurry. The essay uses Oldroyd’s Lady Macbeth as a practical tool for working through what is at stake in these ‘academic’ or ‘semantic’ debates about the frustrating varieties of textual adaptation. The larger intertextual history of Lady Macbeth illustrates the manner in which our critical debates about adaptation tend to reflect, and inform, our deepest desires for and anxieties about progress—or perhaps, more accurately, the apparent lack of such progress—from one historical moment to the next. In doing so, such debates almost mimic the trajectory and functions of adaptations themselves, helping us to understand better why definitions of adaptation must remain elastic and manifold. PubDate: Wed, 04 Aug 2021 00:00:00 GMT DOI: 10.1093/adaptation/apab015 Issue No:Vol. 15, No. 2 (2021)
Hybrid journal (It can contain Open Access articles)
[419 journals]
