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    The document discusses different perspectives on film adaptations. It notes that while adaptations are often seen as secondary works, they also find great commercial success. Adaptations appeal to consumers through repetition with variation, and to producers by reducing financial risk by adapting proven works. The document examines adaptations as products that transcode media/frames, as creative processes of interpretation, and as reception processes. It advocates understanding adaptations as intertextual works in their own right rather than judging their fidelity to an original.

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    exposición capítulos de hutcheon

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    beginning to theorize adaptation

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    The document discusses different perspectives on film adaptations. It notes that while adaptations are often seen as secondary works, they also find great commercial success. Adaptations appeal to consumers through repetition with variation, and to producers by reducing financial risk by adapting proven works. The document examines adaptations as products that transcode media/frames, as creative processes of interpretation, and as reception processes. It advocates understanding adaptations as intertextual works in their own right rather than judging their fidelity to an original.

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    248 views13 pages

    Beginning To Theorize Adaptation

    Uploaded by

    cecirennie
    The document discusses different perspectives on film adaptations. It notes that while adaptations are often seen as secondary works, they also find great commercial success. Adaptations appeal to consumers through repetition with variation, and to producers by reducing financial risk by adapting proven works. The document examines adaptations as products that transcode media/frames, as creative processes of interpretation, and as reception processes. It advocates understanding adaptations as intertextual works in their own right rather than judging their fidelity to an original.

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    of 13

    Hutcheon, L. (2006) A theory of adaptation London: Routledge Ch. 1: Beginning to theorize adaptation pp.

    1-32
    Literatura I 2011 Cecilia M. de Rennie

    Contradictions surrounding film adaptations


    Part of Western culture/put down as secondary, derivative, inferior Films as willfully inferior forms of cognition vs. high commercial success

    The appeal of film adaptations

    85% best picture Oscars; 95% miniseries Emmy

    Appeal for the consumer


    Pleasure of repetition with variation
    Reocognition + surprise Persistence of theme + material variation Desire to repeat an act of consumption VER PEDAGOGA DEL OPRIMIDO

    Appeal for the producer


    Risk avoidance

    Hollywood: popular novels tried and tested UK: 18th/19th century novels tried and trusted Success in terms of audience Book: 1m Broadway play : 8-10m Film: 60m (Beowolf $200 m when first released)
    Sequels/prequels Spin-offs Videogame Merchandising (studios buy rights to film and other media)

    Franchises profit

    Being an A. vs. Being seen as an A.


    Adaptations = palimsestuous works (definition and connotations)
    Open relation to source: second degree text (G. Genette)

    Adaptations as texts: stereophony of echoes, citations, references (R. barthes) A work can be theorized as an adaptation only if coonsidered an inherently multilaminated work.

    Fidelity criticism
    Focus on degree of proximity to original Morally loaded Underlying assumption: adapters aim to reproduce the original Problems with fidelity criticism
    Adaptation = repetition without replicatioin Adaptation have underlying or explicit intentions
    Consume the original and erase its memory Call it into question Pay tribute by copying

    3 ways of defining adaptation


    As a product As a process of creation As a process of reception

    Adaptation as product
    Transcoding An announced and extensive transposition of a particular work or works Shift in
    Medium (epic to a novel) Frame (same story, different point of view) Ontology (real to fictional, biography to fictionalized narrative/drama)

    Adaptation as process of creation


    (re) interpretation and (re)creation 2 perspectives:
    Appropriation Salvaging

    Adaptation as process of reception


    Intertextuality Reception with variation

    3 ways of describing adaptation


    An acknowledged transposition of a recognizable other work or works A creative and an interpretive act of appropriation/salvaging An extended intertextual engagement with the adapted work. Therefore An adaptation is a derivation that is not derivative (second without being secondary; its own palimsestic thing)

    What is not an adaptation?


    Products that come from not wanting a story to end:
    Allusions Plagiarism Sequel/prequel Fan fiction

    Adaptation comes from wanting to hear a story again

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