After demonstrating the efficacy of adapting visual references (3D renders and photos) to concept art for high-budget game development and film production, this contribution suggests a specific approach for the digital artist to produce the uncanny valley when designing monsters. This article illustrates the importance of embedding visual references into the artwork for time efficiency, correct use of perspective and establishment of believable textures. In particular, the search for realism shows to be advantageous in design uncanny monsters. Visual references can be manipulated in software such as Photoshop to prepare not only the blueprints for the 3D modelling/sculpting stage but also to design the special effects makeup for live-action monsters. This contribution fills a gap between our current understanding of the uncanny valley and the process of designing characters; it suggests an efficient approach to monster-making for entertainment and sheds a light on contemporary concept art practices. This is important for a dual reason: (a) it moves knowledge forward in the field of the uncanny valley’s applications to concept art since this has not been investigated in depth in other works; (b) it helps professional concept artists in shaping and controlling the uncanniness of antagonistic characters.
{"title":"Adapting visual references in concept art for films and video games in design uncanny monsters","authors":"Gianluca Balla","doi":"10.1386/jafp_00093_1","DOIUrl":"https://doi.org/10.1386/jafp_00093_1","url":null,"abstract":"After demonstrating the efficacy of adapting visual references (3D renders and photos) to concept art for high-budget game development and film production, this contribution suggests a specific approach for the digital artist to produce the uncanny valley when designing monsters. This article illustrates the importance of embedding visual references into the artwork for time efficiency, correct use of perspective and establishment of believable textures. In particular, the search for realism shows to be advantageous in design uncanny monsters. Visual references can be manipulated in software such as Photoshop to prepare not only the blueprints for the 3D modelling/sculpting stage but also to design the special effects makeup for live-action monsters. This contribution fills a gap between our current understanding of the uncanny valley and the process of designing characters; it suggests an efficient approach to monster-making for entertainment and sheds a light on contemporary concept art practices. This is important for a dual reason: (a) it moves knowledge forward in the field of the uncanny valley’s applications to concept art since this has not been investigated in depth in other works; (b) it helps professional concept artists in shaping and controlling the uncanniness of antagonistic characters.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115493230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jaws () is a film in which a shark is depicted as a monster. Readings and analyses of the film routinely describe the shark as a monster, and pleasures associated with the film rest on audiences reading the animal as such. The book the film is adapted from constructs the shark in similar ways, but there are notable differences between the two. This article examines how the film constructs the shark as a monster, with particular reference to differences between the book and film. It focuses specifically on the story-telling and representational norms associated with each medium, indicating how cinema’s centring of the audio-visual is fundamental to its monster-making processes. Drawing on work from the ‘animal turn’ this article demonstrates cinema’s embedded anthropocentrism and points to the implications this has for non-humans outside of cinema.
{"title":"Jaws, anthropocentrism and cinema as a monster-making machine","authors":"B. Mills","doi":"10.1386/jafp_00087_1","DOIUrl":"https://doi.org/10.1386/jafp_00087_1","url":null,"abstract":"\u0000 Jaws () is a film in which a shark is depicted as a monster. Readings and analyses of the film routinely describe the shark as a monster, and pleasures associated with the film rest on audiences reading the animal as such. The book the film is adapted from constructs the shark in similar ways, but there are notable differences between the two. This article examines how the film constructs the shark as a monster, with particular reference to differences between the book and film. It focuses specifically on the story-telling and representational norms associated with each medium, indicating how cinema’s centring of the audio-visual is fundamental to its monster-making processes. Drawing on work from the ‘animal turn’ this article demonstrates cinema’s embedded anthropocentrism and points to the implications this has for non-humans outside of cinema.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128173596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Television Series as Literature, Winckler Reto and Huertas-Martín Víctor (eds) (2021) London: Palgrave Macmillan, 355 pp., ISBN 978-9-81154-719-5, p/bk, £39.99
评论》:Television译本史》(英语),《圣经#,只要作百科系列Winckler Reto, and 2021都Huertas-Martín维克托(eds)(实现),社长职务由麦克米伦伦敦:Palgrave, 355超越自我。,ISBN 978-9-81154-719-5, p / bk工作,英镑39.99
{"title":"Television Series as Literature, Winckler Reto and Huertas-Martín Víctor (eds) (2021)","authors":"Lucia Esposito","doi":"10.1386/jafp_00096_5","DOIUrl":"https://doi.org/10.1386/jafp_00096_5","url":null,"abstract":"Review of: Television Series as Literature, Winckler Reto and Huertas-Martín Víctor (eds) (2021)\u0000 London: Palgrave Macmillan, 355 pp.,\u0000 ISBN 978-9-81154-719-5, p/bk, £39.99","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130778988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The outcomes presented in this article represent a body of fine artworks that respond to the medieval poem ‘Sir Gawain and the Green Knight’ (c.1380), culminating in the realization of the monstrous head of the Green Knight. I outline influences from an extended base of film, and television, including direct adaptations of the poem, and thematically relevant sources that include analogous narratives; as well as looking at fine art sculpture and painting that have informed my making strategies. I also discuss my theoretical framing of the poem which asserts the Green Knight as an eerie agent of temporality. The relationship between liminal space and monstrous intrusion on the subject is explored, looking to French philosopher Henri Bergson and English writer and cultural theorist Mark Fisher to articulate the subjective implications of deep time manifested in monstrosity. The article charts the ways in which academic research has combined with studio practices to develop and enrich ideas, allowing for a dramatic error in production to become an attribute of a finished work.
{"title":"The Reproachful Head of the Green Knight: Exploring the eerie, liminality, deep time and duration in ‘Sir Gawain and the Green Knight’","authors":"M. Eden","doi":"10.1386/jafp_00089_1","DOIUrl":"https://doi.org/10.1386/jafp_00089_1","url":null,"abstract":"The outcomes presented in this article represent a body of fine artworks that respond to the medieval poem ‘Sir Gawain and the Green Knight’ (c.1380), culminating in the realization of the monstrous head of the Green Knight. I outline influences from an extended base of film, and television, including direct adaptations of the poem, and thematically relevant sources that include analogous narratives; as well as looking at fine art sculpture and painting that have informed my making strategies. I also discuss my theoretical framing of the poem which asserts the Green Knight as an eerie agent of temporality. The relationship between liminal space and monstrous intrusion on the subject is explored, looking to French philosopher Henri Bergson and English writer and cultural theorist Mark Fisher to articulate the subjective implications of deep time manifested in monstrosity. The article charts the ways in which academic research has combined with studio practices to develop and enrich ideas, allowing for a dramatic error in production to become an attribute of a finished work.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134272918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Civilization has, since its inception, employed mythical or deified entities in place of the unknown. Folklore and mythology are the culmination of such beliefs, providing lessons or logic behind behavioural patterns within the society of the time, with the Epic of Gilgamesh (Anon. c.2100 BC) producing a narrative precedence that ‘[n]ature is the opposing pole of the human’. However, the roles of such tales, and hence their monsters, have adapted as humans came to understand more of the world around them. Tchaprazov suggests that Stoker’s Dracula (Stoker 1897) emphasizes ‘that the Slovaks stand both culturally and geographically opposite to the West’, producing social narratives relating to a cultural ‘Other’. Within this article I explore how monsters, based on regional folklore, within video game adaptations such as The Witcher: Enhanced Edition (CD Projekt Red 2008) and Metro 2033 Redux (4A Games 2014) are depicted as a nature-based ‘other’, especially as opposed to the player-character. Furthermore, I look at the cultural implications of contrasting modern depictions, such as the wendigo within Until Dawn (Supermassive Games 2015) and other transmorphic entities. Finally, I suggest that the intersection of culture and folklore within the ‘brickmaker’s village’ in The Witcher: Enhanced Edition is a hybridized adaptation which simultaneously adapts Lovecraft’s The Shadow over Innsmouth (Lovecraft 1931) and the Slavic folklore of the vodyanoy, whilst also challenging what Švelch calls a ‘conceptualization of monstrosity’.
文明从一开始就使用神话或神化的实体来代替未知。民间传说和神话是这种信仰的顶峰，为当时社会的行为模式提供了教训或逻辑，如吉尔伽美什史诗(约2100年)产生了一种“自然是人类的对立面”的叙事先例。然而，随着人类对周围世界的了解越来越多，这些故事的角色以及故事中的怪物已经发生了变化。Tchaprazov认为斯托克的《德古拉》(Stoker 1897)强调“斯洛伐克人在文化和地理上都与西方相对立”，产生了与文化“他者”相关的社会叙事。在本文中，我将探讨基于地区民间传说的电子游戏改编，如《巫师:增强版》(CD Projekt Red 2008)和《地铁2033 Redux》(4A Games 2014)中的怪物是如何被描绘成基于自然的“他者”，特别是与玩家角色相反。此外，我还着眼于对比现代描绘的文化含义，例如《直到黎明》(Supermassive Games 2015)中的wendigo和其他变形实体。最后，我认为《巫师:强化版》中“砖匠村庄”的文化和民间传说的交叉点是一种混合改编，它同时改编了洛夫克拉夫特的《印斯茅斯的阴影》(洛夫克拉夫特1931)和斯拉夫的巫术民间传说，同时也挑战了Švelch所说的“怪物概念化”。
{"title":"Wendigo, vampires and Lovecraft: Intertextual monstrosity and cultural otherness in video games","authors":"André Cowen","doi":"10.1386/jafp_00092_1","DOIUrl":"https://doi.org/10.1386/jafp_00092_1","url":null,"abstract":"Civilization has, since its inception, employed mythical or deified entities in place of the unknown. Folklore and mythology are the culmination of such beliefs, providing lessons or logic behind behavioural patterns within the society of the time, with the Epic of Gilgamesh (Anon. c.2100 BC) producing a narrative precedence that ‘[n]ature is the opposing pole of the human’. However, the roles of such tales, and hence their monsters, have adapted as humans came to understand more of the world around them. Tchaprazov suggests that Stoker’s Dracula (Stoker 1897) emphasizes ‘that the Slovaks stand both culturally and geographically opposite to the West’, producing social narratives relating to a cultural ‘Other’. Within this article I explore how monsters, based on regional folklore, within video game adaptations such as The Witcher: Enhanced Edition (CD Projekt Red 2008) and Metro 2033 Redux (4A Games 2014) are depicted as a nature-based ‘other’, especially as opposed to the player-character. Furthermore, I look at the cultural implications of contrasting modern depictions, such as the wendigo within Until Dawn (Supermassive Games 2015) and other transmorphic entities. Finally, I suggest that the intersection of culture and folklore within the ‘brickmaker’s village’ in The Witcher: Enhanced Edition is a hybridized adaptation which simultaneously adapts Lovecraft’s The Shadow over Innsmouth (Lovecraft 1931) and the Slavic folklore of the vodyanoy, whilst also challenging what Švelch calls a ‘conceptualization of monstrosity’.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133097509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the role of the monster in the film Michael Jackson’s Ghosts (Stan ) by comparing it to its original unreleased version Is This Scary? (Mick ). Despite on the surface telling very similar stories about an angry mob storming the mansion of the reclusive and eccentric Maestro, its use of monsters and monstrousness changes drastically due to the contexts in which both films were made, namely before and after allegations of child molestation were made against Jackson. Comparing these two films offers a uniquely comprehensive insight into how Jackson perceived himself within society, as well as how and why cultural backlash against him manifested. The article includes a comparative analysis of both films’ characters, themes and shared sequences, supplanted by analysis of Jackson’s life and fluctuating critical reality within these two eras. Ultimately, the article will demonstrate an expansion of Jackson’s understanding of his own media freakishness: acknowledging the societal perceptions that made the allegations against him so believable and using it to advocate for his humanity.
{"title":"I’ll be grotesque before your eyes: The expanding monstrousness between Is This Scary? (1993) and Michael Jackson’s Ghosts (1996)","authors":"Sam R. M. Geden","doi":"10.1386/jafp_00088_1","DOIUrl":"https://doi.org/10.1386/jafp_00088_1","url":null,"abstract":"This article examines the role of the monster in the film Michael Jackson’s Ghosts (Stan ) by comparing it to its original unreleased version Is This Scary? (Mick ). Despite on the surface telling very similar stories about an angry mob storming the mansion of the reclusive and eccentric Maestro, its use of monsters and monstrousness changes drastically due to the contexts in which both films were made, namely before and after allegations of child molestation were made against Jackson. Comparing these two films offers a uniquely comprehensive insight into how Jackson perceived himself within society, as well as how and why cultural backlash against him manifested. The article includes a comparative analysis of both films’ characters, themes and shared sequences, supplanted by analysis of Jackson’s life and fluctuating critical reality within these two eras. Ultimately, the article will demonstrate an expansion of Jackson’s understanding of his own media freakishness: acknowledging the societal perceptions that made the allegations against him so believable and using it to advocate for his humanity.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130522192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the arrival of Godzilla (1954), the science-fiction genre of tokusatsu started booming its monsters by adapting different DIY techniques. The post-war period defined a collaborative effort between artists who worked within limited creative conditions due to economic restraints. They experimented with unusual materials for making monsters and image techniques to create visual effects on the filmed screen. Sculptors, art students, freelance workers and animators started collaborating to discover ways to produce suitmation and strategies to make the monster seem alive. Specifically, in Toho Studios, the Special Effects Department, directed by Tsuburaya Eiji, helped create a generation of monster-making specialists that spread to other studios. Along with Iizuka Sadao, they produced special effects using the animation stand and animation-related techniques, such as optical composition, to create the monster zigzag gleaming rays that became the staple of tokusatsu monsters. The analogue era of monster-making only starts to change from the Heisei Gamera series (1995–2006), where analogue and digital intertwine and culminate in Shin Godzilla (2016). This article investigates the possibilities of monster creation and adaptation and how this challenge created a space for hybrid images in the contemporary Japanese media landscape.
{"title":"The remaking of tokusatsu monsters","authors":"A. Longo","doi":"10.1386/jafp_00090_1","DOIUrl":"https://doi.org/10.1386/jafp_00090_1","url":null,"abstract":"Since the arrival of Godzilla (1954), the science-fiction genre of tokusatsu started booming its monsters by adapting different DIY techniques. The post-war period defined a collaborative effort between artists who worked within limited creative conditions due to economic restraints. They experimented with unusual materials for making monsters and image techniques to create visual effects on the filmed screen. Sculptors, art students, freelance workers and animators started collaborating to discover ways to produce suitmation and strategies to make the monster seem alive. Specifically, in Toho Studios, the Special Effects Department, directed by Tsuburaya Eiji, helped create a generation of monster-making specialists that spread to other studios. Along with Iizuka Sadao, they produced special effects using the animation stand and animation-related techniques, such as optical composition, to create the monster zigzag gleaming rays that became the staple of tokusatsu monsters. The analogue era of monster-making only starts to change from the Heisei Gamera series (1995–2006), where analogue and digital intertwine and culminate in Shin Godzilla (2016). This article investigates the possibilities of monster creation and adaptation and how this challenge created a space for hybrid images in the contemporary Japanese media landscape.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"GE-24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126565813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this interview, writer – director Peeter Rebane and I discuss his feature Firebird (2021). Set during the Cold War, the film centres on the real-life Sergey Fetisov’s (the film’s co-writer Tom Prior), Roman’s (Oleg Zagorodnii) and Luisa’s (Diana Pozharskaya) love triangle, exploring the decisions they make and their attendant consequences. Rebane and I examine the challenges of filming some extraordinary material – from underwater shots of the young Sergey (Romek Uibopuu) and Dima (Gregory Kibus) to shots of dozens and dozens of people seated in a concert hall, and from flying sequences to theatre ones – on an independent film budget, and how Rebane has retained integrity to the project without making compromises. We attend to the story on which Firebird was based; Rebane’s and Prior’s fidelity to their source material; how they expanded it to show, more prominently, the social and political context in which it is set; and how they altered Luisa’s character to show her perspective. We discuss Rebane’s extensive research into and recreation of the film’s world, which includes meeting with the real-life Sergey, to whom it is dedicated; casting it; and studying documentaries and photos to create costumes for its many actors and extras. Finally, Rebane and I explore the process of distributing Firebird during the COVID-19 pandemic, which has included screening the film at numerous events worldwide. This interview provides insight into both the making and the distribution of this ambitious film adaptation.
{"title":"The phoenix rises: Peeter Rebane on Firebird","authors":"Tom Ue","doi":"10.1386/jafp_00095_7","DOIUrl":"https://doi.org/10.1386/jafp_00095_7","url":null,"abstract":"In this interview, writer – director Peeter Rebane and I discuss his feature Firebird (2021). Set during the Cold War, the film centres on the real-life Sergey Fetisov’s (the film’s co-writer Tom Prior), Roman’s (Oleg Zagorodnii) and Luisa’s (Diana Pozharskaya) love triangle, exploring the decisions they make and their attendant consequences. Rebane and I examine the challenges of filming some extraordinary material – from underwater shots of the young Sergey (Romek Uibopuu) and Dima (Gregory Kibus) to shots of dozens and dozens of people seated in a concert hall, and from flying sequences to theatre ones – on an independent film budget, and how Rebane has retained integrity to the project without making compromises. We attend to the story on which Firebird was based; Rebane’s and Prior’s fidelity to their source material; how they expanded it to show, more prominently, the social and political context in which it is set; and how they altered Luisa’s character to show her perspective. We discuss Rebane’s extensive research into and recreation of the film’s world, which includes meeting with the real-life Sergey, to whom it is dedicated; casting it; and studying documentaries and photos to create costumes for its many actors and extras. Finally, Rebane and I explore the process of distributing Firebird during the COVID-19 pandemic, which has included screening the film at numerous events worldwide. This interview provides insight into both the making and the distribution of this ambitious film adaptation.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"216 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133172640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1991, the Royal Shakespeare Company staged David Edgar’s The Strange Case of Dr Jekyll and Mr Hyde, an adaptation of Robert Louis Stevenson’s 1885 novella, directed by Peter Wood, to a generally negative critical and commercial response. Five years later, the Birmingham Repertory Theatre produced Edgar’s revised version of the play, using the shorter title Dr Jekyll and Mr Hyde, to much more positive reviews, often from the same people. The striking thing about this radically different response is that, apart from a single element, the two scripts are very similar. They can therefore serve almost as a real-life scientific experiment, demonstrating the difference that a single change will make. This article will consider the various choices that an adaptor may make with this story and look at what the different responses to the two versions can tell us about the nature of this story, and possibly about horror and fantasy in general.
1991年，皇家莎士比亚剧团上演了大卫·埃德加的《化身博士怪案》，改编自罗伯特·路易斯·史蒂文森1885年的中篇小说，由彼得·伍德执导，评论界和商界反响普遍不佳。五年后，伯明翰话剧团(Birmingham Repertory Theatre)制作了埃德加的修订版，使用了更短的剧名《化身博士》(Dr Jekyll and Mr Hyde)，得到了更积极的评价，而且往往来自同一个人。这两种截然不同的反应的惊人之处在于，除了一个元素之外，这两种剧本非常相似。因此，它们几乎可以作为现实生活中的科学实验，证明一个单一的改变会产生的差异。本文将考虑改编者对这个故事可能做出的各种选择，并看看对两个版本的不同反应可以告诉我们这个故事的本质，以及可能的恐怖和幻想。
{"title":"Dr Jekyll and/or Mr Hyde: The two versions of David Edgar’s stage adaptation","authors":"David Cottis","doi":"10.1386/jafp_00086_1","DOIUrl":"https://doi.org/10.1386/jafp_00086_1","url":null,"abstract":"In 1991, the Royal Shakespeare Company staged David Edgar’s The Strange Case of Dr Jekyll and Mr Hyde, an adaptation of Robert Louis Stevenson’s 1885 novella, directed by Peter Wood, to a generally negative critical and commercial response. Five years later, the Birmingham Repertory Theatre produced Edgar’s revised version of the play, using the shorter title Dr Jekyll and Mr Hyde, to much more positive reviews, often from the same people. The striking thing about this radically different response is that, apart from a single element, the two scripts are very similar. They can therefore serve almost as a real-life scientific experiment, demonstrating the difference that a single change will make. This article will consider the various choices that an adaptor may make with this story and look at what the different responses to the two versions can tell us about the nature of this story, and possibly about horror and fantasy in general.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132922255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is the editorial for the Special Issue Making Monsters. The Special Issues comes out of my own academic interest and a two-day symposium. This editorial outlines the need for research around the practice of making monsters, placing the production processes needed to make the creatures in horror media as central to the adaptation of monsters into various media forms. It also will introduce the contributors to the Special Issue and briefly lay out their specific approach to this broad and engaging topic, whether that be looking at the practical effects used to bring monsters to the stage and screen or new ways we conceptualize the monstrous in the digital forms.
{"title":"Editorial: Making Monsters, Building Terror","authors":"B. Pinsent, Richard J. Hand","doi":"10.1386/jafp_00085_2","DOIUrl":"https://doi.org/10.1386/jafp_00085_2","url":null,"abstract":"This is the editorial for the Special Issue Making Monsters. The Special Issues comes out of my own academic interest and a two-day symposium. This editorial outlines the need for research around the practice of making monsters, placing the production processes needed to make the creatures in horror media as central to the adaptation of monsters into various media forms. It also will introduce the contributors to the Special Issue and briefly lay out their specific approach to this broad and engaging topic, whether that be looking at the practical effects used to bring monsters to the stage and screen or new ways we conceptualize the monstrous in the digital forms.","PeriodicalId":126238,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131397157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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