By Linda Hutcheon
Are we residing within the age of edition? In modern cinema, after all, there are adequate diversifications --based on every little thing from comedian books to the novels of Jane Austen--to make us wonder whether Hollywood has run out of latest tales. but when you're thinking that variation will be understood by utilizing novels and flicks on my own, you're mistaken. this day there also are music covers emerging up the pop charts, online game models of fairy stories, or even curler coasters in line with winning motion picture franchises.
Despite their reputation, notwithstanding, variations are typically handled as secondary and by-product. no matter if within the type of a Broadway musical or successful tv exhibit, variations are nearly necessarily considered as not as good as the "original." yet are they?
Here, popular literary student Linda Hutcheon explores the ubiquity of variations in all their a variety of media incarnations--and demanding situations their consistent severe denigration. edition, Hutcheon argues, has constantly been a vital mode of the story--telling mind's eye and merits to be studied in all its breadth and variety as either a method (of production and reception) and a product unto its personal.
Persuasive and illuminating, A conception of edition is a daring rethinking of ways model works throughout all media and genres which could positioned an finish to the age--old query of no matter if the booklet was once greater than the motion picture, or the opera, or the subject park.
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Extra resources for A Theory of Adaptation
Or, in structural terms, the adapter might impose on a loosely episodic or picaresque narrative a familiarly patterned plot of rising and falling action, with a clear beginning, middle, and end; or he or she might even deliberately substitute a happy ending to mute tragedy or horror, as director Volker Schlöndorff and screenplay writer Harold Pinter did in their 1990 film adaptation of Margaret Atwood’s dark, dystopic narrative, The Handmaid’s Tale (1985). Most of the talk about film adaptation, however, is in negative terms of loss.
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-of-correspondence”—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.
So, too, are adaptations, but with the added proviso that they are also acknowledged as adaptations of specific texts. Often, the audience will recognize that a work is an adaptation of more than one specific text. For instance, when later writers reworked—for radio, stage, and even screen—John Buchan’s 1914 novel, The ThirtyNine Steps, they often adapted Alfred Hitchcock’s dark and cynical 1935 film adaptation along with the novel (Glancy 2003: 99–100). And films about Dracula today are as often seen as adaptations of other earlier films as they are of Bram Stoker’s novel.
A Theory of Adaptation by Linda Hutcheon