A Theory of AdaptationRoutledge, 13.06.2006 - 232 Seiten Renowned literary scholar Linda Hutcheon explores the ubiquity of adaptations in all their various media incarnations and challenges their constant critical denigration. Adaptation, Hutcheon argues, has always been a central mode of the story-telling imagination and deserves to be studied in all its breadth and range as both a process (of creation and reception) and a product unto its own. Persuasive and illuminating, A Theory of Adaptation is a bold rethinking of how adaptation works across all media and genres that may put an end to the age-old question of whether the book was better than the movie, or the opera, or the theme park. |
Inhalt
What? Who? Why? How? Where? When? | 1 |
2 WHAT? Forms | 33 |
3 WHO? WHY? Adapters | 79 |
4 HOW? Audiences | 113 |
5 WHERE? WHEN? Contexts | 141 |
6 FINAL QUESTIONS | 169 |
REFERENCES | 179 |
| 203 | |
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action actors adap adapted text aesthetic argued artistic audience audience’s aural ballet Bernanos Billy Billy Budd Bizet’s Blanche called camera Carmelites Carmen Carmen Jones changes characters cinematic Compiègne context conventions created creative critical cultural dance death dialogue Dialogues des Carmélites director dramatic e film E.M. Forster experience fact fiction film adaptation film version film’s first-person shooters focus French genre gypsy historical imagination immersion interactive interactive fiction interpretation intertextual involved Jean-Claude Carrière kind literary literature machinima meaning medium Melville’s modes of engagement motivation move movie narrative narrator novel novella ofthe opera Opéra Comique particular performance media Peter Brook Philip Pullman physical play plot political Poulenc Prioress repetition response scene screen screenplay screenwriter sense Shakespeare shift showing mode singing song specific stage Stam story suggest tation television telling theme theory tion transcoding translation verbal videogames visual voice-over woman words writing