Screening the Royal Shakespeare Company: A Critical History, John Wyver (2019)London and New York: The Arden Shakespeare, 288 pp.,ISBN 978-1-35000-658-4, h/bk, £67.50; ISBN 978-1-35000-659-1, e/bk, £64.80
{"title":"Screening the Royal Shakespeare Company: A Critical History, John Wyver (2019)","authors":"Cornelis Heijes","doi":"10.1386/jafp_00016_5","DOIUrl":"https://doi.org/10.1386/jafp_00016_5","url":null,"abstract":"Screening the Royal Shakespeare Company: A Critical History, John Wyver (2019)London and New York: The Arden Shakespeare, 288 pp.,ISBN 978-1-35000-658-4, h/bk, £67.50; ISBN 978-1-35000-659-1, e/bk, £64.80","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"43 1","pages":"97-99"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87549922","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}
{"title":"Adaptations in the Franchise Era, 2001–16, Kyle Meikle (2019)","authors":"Reto Winckler","doi":"10.1386/jafp_00017_5","DOIUrl":"https://doi.org/10.1386/jafp_00017_5","url":null,"abstract":"Adaptations in the Franchise Era, 2001–16, Kyle Meikle (2019)New York and London: Bloomsbury Academic, 181 pp.,ISBN 978-1-50131-872-6, p/bk, £19.99","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"75 1","pages":"100-102"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85762085","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}
{"title":"1. POSITION AND PERSPECTIVE","authors":"","doi":"10.7312/klev6424-004","DOIUrl":"https://doi.org/10.7312/klev6424-004","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84214222","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}
{"title":"INTRODUCTION: INTERPRETING PERFORMANCE","authors":"","doi":"10.7312/klev6424-003","DOIUrl":"https://doi.org/10.7312/klev6424-003","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91130469","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}
{"title":"2. PLACE","authors":"","doi":"10.7312/klev6424-005","DOIUrl":"https://doi.org/10.7312/klev6424-005","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84753688","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}
{"title":"INDEX","authors":"","doi":"10.7312/klev6424-010","DOIUrl":"https://doi.org/10.7312/klev6424-010","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88401347","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}
{"title":"Frontmatter","authors":"","doi":"10.7312/klev6424-fm","DOIUrl":"https://doi.org/10.7312/klev6424-fm","url":null,"abstract":"","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83531357","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}
Abstract Japanese media franchising is normally discussed in relation to long-running chains of serial transmedia production known in Japan as 'media mix'. I argue that this focus on the biggest of Japanese franchises is over-determining how we conceptualize the flows of adaptation in Japanese media culture. Therefore, in this article, I focus on a short-lived franchise based around Yumi Unita's manga Usagi Drop (literally, Bunny Drop, 2009‐11) in order to think about the media mix as a set of relational adaptation processes. In the space of just a few months in 2011, this manga about a young man adopting his grandfather's illegitimate daughter became the seemingly unlikely source of a transmedia franchise that included television animation and live action film. Focusing on such a short-lived cycle of production allows me to reconsider how Japanese franchise media texts relate to one another, and to decentre anime as the defacto core medium in Japanese franchising. Expanding the view of Japanese media mix adaptations, I consider how both internal and external factors can influence media franchising and adaptation practices in contemporary Japan. Retracing the production discourses around the creation of the Usagi Drop franchise therefore allows me to reconsider the concept of media mix as adaptation practice and process in Japan.
{"title":"Adaptation in Japanese media mix franchising: Usagi Drop from page to screens","authors":"R. Denison","doi":"10.1386/jafp_00003_1","DOIUrl":"https://doi.org/10.1386/jafp_00003_1","url":null,"abstract":"Abstract Japanese media franchising is normally discussed in relation to long-running chains of serial transmedia production known in Japan as 'media mix'. I argue that this focus on the biggest of Japanese franchises is over-determining how we conceptualize the flows of\u0000 adaptation in Japanese media culture. Therefore, in this article, I focus on a short-lived franchise based around Yumi Unita's manga Usagi Drop (literally, Bunny Drop, 2009‐11) in order to think about the media mix as a set of relational adaptation processes. In the space\u0000 of just a few months in 2011, this manga about a young man adopting his grandfather's illegitimate daughter became the seemingly unlikely source of a transmedia franchise that included television animation and live action film. Focusing on such a short-lived cycle of production allows me to\u0000 reconsider how Japanese franchise media texts relate to one another, and to decentre anime as the defacto core medium in Japanese franchising. Expanding the view of Japanese media mix adaptations, I consider how both internal and external factors can influence media franchising and adaptation\u0000 practices in contemporary Japan. Retracing the production discourses around the creation of the Usagi Drop franchise therefore allows me to reconsider the concept of media mix as adaptation practice and process in Japan.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"1 1","pages":"143-161"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74453574","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}
Abstract Fumiyo Kouno's two-part manga series Hi no tori (2014) and Hi no tori 2 (2016) documents the story of a cockerel's search for his missing wife in the months and years following '3.11', the Triple Disaster of 11 March 2011, consisting of the Great East Japan Earthquake, tsunami and nuclear meltdown at Fukushima Daiichi Nuclear Power Plant. Both Hi no tori and Hi no tori 2 possess an unusual layout; they are comprised of various elements, including drawings, prose, poetry, statistical data, maps and commentary by the artist. This article argues that in its unique presentation of visual and textual elements, the Hi no tori series employs the medium of documentary comics to negotiate the complex critical spaces in between fiction and nonfiction, past and present, presence and absence, visibility and invisibility and, importantly, between forgetting or the fading of memories (fūka) and reconstruction (fukkō). It examines the Hi no tori series as an adaptation within the medium of comics towards a more accurate and ethical representation of 3.11 and its aftermath.
【摘要】君野文雄的两集漫画《嗨，鸟》(2014)和《嗨，鸟2》(2016)记录了2011年3月11日“3.11”三重灾难——东日本大地震、海啸和福岛第一核电站核泄漏——发生后的几个月和几年里，一只公鸡寻找失踪妻子的故事。Hi no tori和Hi no tori 2都有一个不寻常的布局;它们由各种元素组成，包括绘画、散文、诗歌、统计数据、地图和艺术家的评论。本文认为，《Hi no tori》系列在其独特的视觉和文本元素呈现中，采用纪实漫画的媒介，在虚构与非虚构、过去与现在、在场与不在场、可见与不可见之间，以及更重要的是，在记忆的遗忘或褪色(fūka)与重建(fukkka)之间，进行了复杂的批判性空间谈判。它考察了Hi no tori系列作为漫画媒介的改编，以更准确和道德的方式呈现3.11及其后果。
{"title":"Kouno Fumiyo's Hi no tori ('Bird of the Sun') series as documentary manga: Memory and 3.11","authors":"Linda M. Flores","doi":"10.1386/jafp_00004_1","DOIUrl":"https://doi.org/10.1386/jafp_00004_1","url":null,"abstract":"Abstract Fumiyo Kouno's two-part manga series Hi no tori (2014) and Hi no tori 2 (2016) documents the story of a cockerel's search for his missing wife in the months and years following '3.11', the Triple Disaster of 11 March 2011, consisting of the Great East\u0000 Japan Earthquake, tsunami and nuclear meltdown at Fukushima Daiichi Nuclear Power Plant. Both Hi no tori and Hi no tori 2 possess an unusual layout; they are comprised of various elements, including drawings, prose, poetry, statistical data, maps and commentary by the artist.\u0000 This article argues that in its unique presentation of visual and textual elements, the Hi no tori series employs the medium of documentary comics to negotiate the complex critical spaces in between fiction and nonfiction, past and present, presence and absence, visibility and invisibility\u0000 and, importantly, between forgetting or the fading of memories (fūka) and reconstruction (fukkō). It examines the Hi no tori series as an adaptation within the medium of comics towards a more accurate and ethical representation of 3.11 and its aftermath.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"27 1","pages":"163-177"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79168891","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}
Abstract This article examines different conceptions of realism in theatre and manga by focusing on gender performance in Minako Narita's manga, Alien Street (1980‐84). It depicts a male actor who plays female roles in realist theatre productions. I argue that the believability of this gender performance stems in part from the conventions of manga realism, where non-realistic signs are used to mark gender distinctions. However, in contrast to these conventions, this manga also highlights the performative nature of gender by revealing how a realist stage forces the performers to cite and repeat the conventional gendered practices. In doing so, Alien Street mixes manga and theatre realism and complicates our understanding of gender conventions.
{"title":"Theatrical realism in manga: Performativity of gender in Minako Narita's Alien Street","authors":"Nobuko Anan","doi":"10.1386/jafp_00002_1","DOIUrl":"https://doi.org/10.1386/jafp_00002_1","url":null,"abstract":"Abstract This article examines different conceptions of realism in theatre and manga by focusing on gender performance in Minako Narita's manga, Alien Street (1980‐84). It depicts a male actor who plays female roles in realist theatre productions. I argue that the\u0000 believability of this gender performance stems in part from the conventions of manga realism, where non-realistic signs are used to mark gender distinctions. However, in contrast to these conventions, this manga also highlights the performative nature of gender by revealing how a realist stage\u0000 forces the performers to cite and repeat the conventional gendered practices. In doing so, Alien Street mixes manga and theatre realism and complicates our understanding of gender conventions.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"488 1","pages":"133-141"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77053311","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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