A Theory of Adaptation - download pdf or read online

By Linda Hutcheon

ISBN-10: 0415539374

ISBN-13: 9780415539371

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

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

A thought of model is the precise consultant to this ever evolving box of analysis and is key studying for a person drawn to version within the context of literary and media experiences.

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Extra resources for A Theory of Adaptation

Sample text

Susan Orlean’s book, The Orchid Thief, proved intractable to screenwriter “Charlie Kaufman” in the movie Adaptation. Or did it? Linear realist novels, it would appear, are more easily adapted for the screen than experimental ones, or so we might assume from the evidence: the works of Charles Dickens, Ian Fleming, and Agatha Christie are more often adapted than those of Samuel Beckett, James Joyce, or Robert Coover. “Radical” texts, it is said, are “reduced to a kind of cinematic homogenization” (Axelrod 1996: 204) when they are adapted.

2]), though it did both. It was also a form of creativity: “Imitatio is neither plagiarism nor a flaw in the constitution of Latin literature. It is a dynamic law of its existence” (West and Woodman 1979: ix). Like classical imitation, adaptation also is not slavish copying; it is a process of making the adapted material one’s own. In both, the novelty is in what one does with the other text. Indeed, for “Longinus,” imitatio went together with aemulatio, linking imitation and creativity (Russell 1979: 10).

This heterocosm possesses what theorists call “truth-of-coherence” (Ruthven 1979: 11)—here, plausibility and consistency of movement and graphics within the context of the game (Ward 2002: 129)—just as do narrated and performed worlds, but this world also has a particular kind of “truth-ofcorrespondence”—not to any “real world” but to the universe of a particular adapted text. The videogame of The Godfather uses the voices and physical images of some of the film’s actors, including Marlon Brando, but the linear structure of the movie is transmuted into that of a flexible game model in which the player becomes a nameless mafia henchman, trying to win the respect of the main characters by taking over businesses, killing people, and so on.

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A Theory of Adaptation by Linda Hutcheon

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