Pub Date : 2021-05-15DOI: 10.1093/ADAPTATION/APAB009
Reihaneh Diba
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Pub Date : 2021-04-21DOI: 10.1093/ADAPTATION/APAB004
Mazda Moradabbasi Fouladi
This article examines the degree to which pre-revolutionary Iranian New Wave cinema is influenced by modern Persian fiction. Considering Iranian film adaptations have barely received any scholarly attention, this article focuses on Dariush Mehrjui’s The Cow/Gav (1969), one of the pioneering films of the New Wave, adapted from Gholamhosein Sa’edi’s story collection entitled The Mourners of Bayal/Azadaran-e Bayal (1965). The rise of the New Wave cinema through the pre-revolutionary years before 1979 was interwoven with the engagement of filmmakers like Mehrjui with Persian fiction. While Sa’edi’s stories present criticisms of the socio-political atmosphere of the late 1960s and 1970s, I argue that Mehrjui’s adaptation complicates Sa’edi’s critical perspective to establish an overt social commentary on contemporary Iranian society. This paper will conclude by demonstrating that Mehrjui in The Cow draws on Sa’edi’s work to portray a microcosm of Iranian society and places it in relation to the motifs of overdependence, fear, religion, and waiting, which are interpretable in the social context of the late 1960s and 1970s. This analysis highlights the invisible yet significant role of modern Persian fiction and adaptation strategies in establishing the perspective of The Cow, which left an impression on many New Wave films.
{"title":"Adaptation in Iranian New Wave Cinema: Social Commentary in Dariush Mehrjui’s The Cow (1969)","authors":"Mazda Moradabbasi Fouladi","doi":"10.1093/ADAPTATION/APAB004","DOIUrl":"https://doi.org/10.1093/ADAPTATION/APAB004","url":null,"abstract":"\u0000 This article examines the degree to which pre-revolutionary Iranian New Wave cinema is influenced by modern Persian fiction. Considering Iranian film adaptations have barely received any scholarly attention, this article focuses on Dariush Mehrjui’s The Cow/Gav (1969), one of the pioneering films of the New Wave, adapted from Gholamhosein Sa’edi’s story collection entitled The Mourners of Bayal/Azadaran-e Bayal (1965). The rise of the New Wave cinema through the pre-revolutionary years before 1979 was interwoven with the engagement of filmmakers like Mehrjui with Persian fiction. While Sa’edi’s stories present criticisms of the socio-political atmosphere of the late 1960s and 1970s, I argue that Mehrjui’s adaptation complicates Sa’edi’s critical perspective to establish an overt social commentary on contemporary Iranian society. This paper will conclude by demonstrating that Mehrjui in The Cow draws on Sa’edi’s work to portray a microcosm of Iranian society and places it in relation to the motifs of overdependence, fear, religion, and waiting, which are interpretable in the social context of the late 1960s and 1970s. This analysis highlights the invisible yet significant role of modern Persian fiction and adaptation strategies in establishing the perspective of The Cow, which left an impression on many New Wave films.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/ADAPTATION/APAB004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49658509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1093/ADAPTATION/APAB007
D. Amadio
For many scholars of David Lynch’s work, Dune is considered a spectacular failure, a costly creative misstep on the way to Blue Velvet. While it may not be regarded as one of his signature films, Dune contains enough of Lynch’s creative personality to warrant a critical re-examination. The purpose of this study is to place Dune within the context of his earlier work, namely Eraserhead and The Elephant Man, and to mine it for those tropes with which Lynch has become synonymous: enabling the grotesque, interiority and the unconscious mind, and the relationship between industry and flesh. By the director’s own admission, Dune forced him into an aesthetic middle world, wedging him between the midnight movie and mainstream cinema. Using Thomas Leitch’s theory of adaptation in both an archival and teleological reading of Dune, I demonstrate how Lynch asserts himself in this middle world, how he succeeds in honouring the source material while also meeting his authorial desire to reinvent it, to decouple from the archive and ‘go off the track’.
{"title":"‘I Kinda Like to Go Off the Track’: Finding David Lynch in the Middle World of Dune","authors":"D. Amadio","doi":"10.1093/ADAPTATION/APAB007","DOIUrl":"https://doi.org/10.1093/ADAPTATION/APAB007","url":null,"abstract":"\u0000 For many scholars of David Lynch’s work, Dune is considered a spectacular failure, a costly creative misstep on the way to Blue Velvet. While it may not be regarded as one of his signature films, Dune contains enough of Lynch’s creative personality to warrant a critical re-examination. The purpose of this study is to place Dune within the context of his earlier work, namely Eraserhead and The Elephant Man, and to mine it for those tropes with which Lynch has become synonymous: enabling the grotesque, interiority and the unconscious mind, and the relationship between industry and flesh. By the director’s own admission, Dune forced him into an aesthetic middle world, wedging him between the midnight movie and mainstream cinema. Using Thomas Leitch’s theory of adaptation in both an archival and teleological reading of Dune, I demonstrate how Lynch asserts himself in this middle world, how he succeeds in honouring the source material while also meeting his authorial desire to reinvent it, to decouple from the archive and ‘go off the track’.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/ADAPTATION/APAB007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45843160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-22DOI: 10.1093/ADAPTATION/APAB008
Thomas M. Leitch
This introduction to the special issue of Adaptation devoted to adaptation and the public humanities focuses on the ways the once-anodyne term ‘public humanities’ has become more sharply politicized and contested over the past few years. In many ways, adaptation, which generates new versions and new readings of old texts instead of cancelling, erasing, or unpublishing them, offers the possibility of transcending the conflicts in contemporary culture. But the creation and the study of adaptations offer not a retreat from the culture wars but an array of new tools for waging them more productively by reframing them in ways that lead to more open and fruitful dialogue on the subjects proposed by the essays in this issue: theatrical performances cast for the public good, the costs of performing adapted versions of oneself or of encouraging adaptation-induced tourism, the ecological implications of adaptation, and the shifting valence of adaptation when it is practiced by public figures and posthuman agents.
{"title":"Introduction: Adaptation and the Battle of, and for, and over, and within the Public Humanities","authors":"Thomas M. Leitch","doi":"10.1093/ADAPTATION/APAB008","DOIUrl":"https://doi.org/10.1093/ADAPTATION/APAB008","url":null,"abstract":"\u0000 This introduction to the special issue of Adaptation devoted to adaptation and the public humanities focuses on the ways the once-anodyne term ‘public humanities’ has become more sharply politicized and contested over the past few years. In many ways, adaptation, which generates new versions and new readings of old texts instead of cancelling, erasing, or unpublishing them, offers the possibility of transcending the conflicts in contemporary culture. But the creation and the study of adaptations offer not a retreat from the culture wars but an array of new tools for waging them more productively by reframing them in ways that lead to more open and fruitful dialogue on the subjects proposed by the essays in this issue: theatrical performances cast for the public good, the costs of performing adapted versions of oneself or of encouraging adaptation-induced tourism, the ecological implications of adaptation, and the shifting valence of adaptation when it is practiced by public figures and posthuman agents.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/ADAPTATION/APAB008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48458982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-22DOI: 10.1093/ADAPTATION/APAB005
G. Ballinger
This essay examines the depiction of women, travel, natural science, and race in Elizabeth Gaskell’s Wives and Daughters (1864–66) and Andrew Davies’s BBC adaptation of the novel (1999). It argues that the adaptation offers a recognizable transposition of Gaskell’s text, but makes some significant adjustments that reveal its contemporary reimagining of the novel’s gender and racial politics. In particular, Davies transforms Gaskell’s unexceptional female protagonist Molly Gibson into a proto-feminist naturalist adventurer, and revisions the casual racism the novel expresses towards black people in line with late-twentieth-century sensibilities. Each text, novel and film, reveals the period-specific ideological forces that shape its portrayal of Englishwomen and African people.
{"title":"Adapting Wives and Daughters for Television: Reimagining Women, Travel, Natural Science, and Race","authors":"G. Ballinger","doi":"10.1093/ADAPTATION/APAB005","DOIUrl":"https://doi.org/10.1093/ADAPTATION/APAB005","url":null,"abstract":"\u0000 This essay examines the depiction of women, travel, natural science, and race in Elizabeth Gaskell’s Wives and Daughters (1864–66) and Andrew Davies’s BBC adaptation of the novel (1999). It argues that the adaptation offers a recognizable transposition of Gaskell’s text, but makes some significant adjustments that reveal its contemporary reimagining of the novel’s gender and racial politics. In particular, Davies transforms Gaskell’s unexceptional female protagonist Molly Gibson into a proto-feminist naturalist adventurer, and revisions the casual racism the novel expresses towards black people in line with late-twentieth-century sensibilities. Each text, novel and film, reveals the period-specific ideological forces that shape its portrayal of Englishwomen and African people.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/ADAPTATION/APAB005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49650792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-22DOI: 10.1093/ADAPTATION/APAB006
Susan S. Williams
Nathaniel Hawthorne’s The Scarlet Letter has generated numerous adaptations. Its depiction of race has made it a problematic ‘master text’, however, especially since it was published in the same year as the US Fugitive Slave Act. This essay examines three recent adaptations across a variety of media that focus on the relationship between race and motherhood, revealing the ways in which Hester Prynne can be integrated into society as a single mother in ways that non-white mothers cannot. Suzan-Lori Parks’ 1998 play In the Blood stages ‘Hester, La Negrita’ as a homeless mother of five who cannot escape the ‘hand of fate’ of racial oppression. Celeste Ng’s 2017 novel Little Fires Everywhere reinvents Hester as a surrogate mother whose efforts on behalf of a birth mother in a trans-racial adoption dispute highlight how race differentially impacts maternal rights. The 2020 Hulu television adaptation of Ng’s novel casts the Hester and Pearl figures, along with an artist named Hawthorne, as black women whose activism forces the Richardson family to acknowledge their white privilege. Together, these adaptations examine how the ‘monstrous birth’ of slavery that Hawthorne only belatedly acknowledged has had a lingering afterlife in constructions of race and motherhood.
纳撒尼尔·霍桑的《红字》改编了许多作品。然而，它对种族的描述使其成为一个有问题的“主文本”，尤其是因为它与美国《逃亡奴隶法》同年出版。这篇文章考察了各种媒体最近对种族和母亲关系的三次改编，揭示了赫斯特·白兰作为单身母亲融入社会的方式，而非白人母亲则无法做到这一点。苏赞·洛里·帕克斯（Suzan Lori Parks）1998年的戏剧《血流成河》（In the Blood）上演了《赫斯特，拉·内格里塔》（Hester，La Negrita），饰演一位无家可归的五个孩子的母亲，她无法逃脱种族压迫的“命运之手”。Celeste Ng 2017年的小说《小火遍天下》将赫斯特重塑为一位代孕母亲，她在跨种族收养纠纷中代表生母所做的努力突显了种族如何不同地影响产妇权利。根据吴小说改编的2020年Hulu电视剧将赫斯特和珀尔的形象，以及一位名叫霍桑的艺术家塑造成黑人女性，她们的行动主义迫使理查森家族承认她们的白人特权。这些改编作品共同审视了霍桑迟来才承认的奴隶制的“可怕诞生”是如何在种族和母性的建构中产生挥之不去的来生的。
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Pub Date : 2021-03-08DOI: 10.1093/ADAPTATION/APAB001
M. Nicholls
Building on a tradition of exploring textual interrelationships through figurative readings and extended metaphors, this paper seeks to read adaptation as an active and creative practice of decay. The reading is couched within a broader exploration of the afterlife of texts and heterocosms via a conceptualization of textual embodiment as prey to particular kinds of entropy. Within this paradigm, Adaptation Studies becomes an inclusive methodology for exploring the ways in which texts metamorphose and are purposefully, posthumously altered by authors, readers, and adapters. Adaptation is proposed as a creative engagement of generative decay based in a broader universe of textual entropy, requiring interpretative burrowings from readers and adapters so that sources might be recycled and rewritten in the inks of their suppurations.
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Pub Date : 2021-03-08DOI: 10.1093/ADAPTATION/APAB002
Shuxi Wu
This article formally introduces the ‘intellectual property show’ concept currently inciting heated discussions among Chinese media studies scholars into English-language academia. Intellectual property show, a Chinese term generally referring to television shows adapted from internet fiction (and to a secondary extent, video games), explicitly suggests an adaptation form and logic particular to an environment characterized by converging media and digital transformations of cultural production. Using the 2019 Chinese hit show All is Well, adapted from an internet novel with the same name, I approach intellectual property show as a media artefact situated at the volatile convergence of political demand, business interest, and new media affordances through adopting an integrative approach to contemporary adaptations in China. By attending to both the material context of production and the media text itself, I join the current explorations in adaptation studies for methods that answer the why and how of adaptation.
{"title":"Television Adaptation in the Age of Media Convergence: Chinese Intellectual Property Shows and the Case of All Is Well","authors":"Shuxi Wu","doi":"10.1093/ADAPTATION/APAB002","DOIUrl":"https://doi.org/10.1093/ADAPTATION/APAB002","url":null,"abstract":"\u0000 This article formally introduces the ‘intellectual property show’ concept currently inciting heated discussions among Chinese media studies scholars into English-language academia. Intellectual property show, a Chinese term generally referring to television shows adapted from internet fiction (and to a secondary extent, video games), explicitly suggests an adaptation form and logic particular to an environment characterized by converging media and digital transformations of cultural production. Using the 2019 Chinese hit show All is Well, adapted from an internet novel with the same name, I approach intellectual property show as a media artefact situated at the volatile convergence of political demand, business interest, and new media affordances through adopting an integrative approach to contemporary adaptations in China. By attending to both the material context of production and the media text itself, I join the current explorations in adaptation studies for methods that answer the why and how of adaptation.","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/ADAPTATION/APAB002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41725315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1093/adaptation/apaa007
Ann McClellan
With hundreds of Sherlock Holmes screen adaptations, the silent all-Black-cast A Black Sherlock Holmes (1918) remains an under-researched anomaly. The essay provides an overview of colourblind and colour conscious casting practices, ultimately advocating for adopting fan studies approaches to ‘racebending’. Racebending involves alternately ‘racing’ canonical characters from white to Black Minority Ethnic. After briefly reviewing representations of African Americans in blackface minstrelsy and early twentieth-century race films, the essay argues that A Black Sherlock Holmes highlights the ways in which race filmmakers were trying to reimagine new ways for African Americans to become part of dominant literary culture. In reimagining Sherlock Holmes as an African American, the film (re)inscribes Black people into prominent literary and cultural history. Because Knick Garter is doubly descended from two notable fictional detectives, America’s Nick Carter of dime novel fame as well as Britain’s legendary Sherlock Holmes, his very existence posits a new world where famous Black characters are as much a part of the American literary landscape as canonical characters from Hawthorne, Poe, and Twain. Viewing A Black Sherlock Holmes in light of the possibilities the film offers, rather than its limitations, allows viewers today to see the ways literary history, film, and race coalesced to highlight the possibilities of radical racial change in the post-Reconstruction era at the beginning of the twentieth century.
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Pub Date : 2021-02-22DOI: 10.1093/adaptation/apab003
Reto Winckler
{"title":"Theorizing Adaptation","authors":"Reto Winckler","doi":"10.1093/adaptation/apab003","DOIUrl":"https://doi.org/10.1093/adaptation/apab003","url":null,"abstract":"","PeriodicalId":42085,"journal":{"name":"Adaptation-The Journal of Literature on Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/adaptation/apab003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44938524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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