Bøger i Palgrave Studies in Adaptation and Visual Culture serien

This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime¿s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the ¿bride¿ of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters. Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/

Adaptation Before Cinema highlights a range of pre-cinematic media forms, including theater, novelization, painting and illustration, transmedia art, children¿s media, and other literary and visual culture. The book expands the primary scholarly audience of adaptation studies from film and media scholars to literary scholars and cultural critics working across a range of historical periods, genres, forms, and media. In doing so, it underscores the creative diversity of cultural adaptation practiced before cinema came to dominate the critical conversation on adaptation. Collectively, the chapters construct critical bridges between literary history and contemporary media studies, foregrounding diverse practices of adaptation and providing a platform for innovative critical approaches to adaptation, appropriation, or transmedia storytelling popular from the Middle Ages through the invention of cinema. At the same time, they illustrate how these forms of adaptation not only influenced the cinematic adaptation industry of the twentieth century but also continue to inform adaptation practices in the twenty-first century transmedia landscape. Written by scholars with expertise in historical, literary, and cultural scholarship ranging from the medieval period through the nineteenth century, the chapters use discourses developed in contemporary adaptation studies to shed new lights on their respective historical fields, authors, and art forms.

This book brings together a diverse range of contemporary scholarship around both Anthony Burgess¿s novel (1962) and Stanley Kubrick¿s film, A Clockwork Orange (US 1971; UK 1972). This is the first book to deal with both together offering a range of groundbreaking perspectives that draw on the most up to date, contemporary archival and critical research carried out at both the Stanley Kubrick Archive, held at University of the Arts London, and the archive of the International Anthony Burgess Foundation. This landmark book marks both the 50th anniversary of Kubrick¿s film and the 60th anniversary of Burgess¿s novel by considering the historical, textual and philosophical connections between the two. The chapters are written by a diverse range of contributors covering such subjects as the Burgess/Kubrick relationship; Burgess¿s recently discovered ¿sequel¿ The Clockwork Condition; the cold war context of both texts; the historyof the script; the politics of authorship; and the legacy of both¿including their influence on the songwriting and personas of David Bowie!

The book connects these industry insights to the existing conceptual and critical frameworks of television studies and adaptation studies, illuminating the unique characteristics of television adaptation as a material mode of production, and revealing television itself as an inherently adaptive artform.

This book explores "Making of" sites as a genre of cultural artefact. Part two attends to "Making of" Gone with the Wind sites, and concludes with "Making of" The Lord of the Rings texts as the acme of the cultural risks and investments charted in earlier chapters.

Nordic Noir, Adaptation, Appropriation deploys the tools of current adaptation studies to undertake a wide-ranging transcultural, intermedial exploration, adding an important new layer to the rich scholarship that has arisen around Nordic noir in recent years.

By considering the films of Rohmer and Rivette as an extension of their writings (essays, film reviews, scriptwriting, novels and interviews), this volume analyses the changing and sometimes opposed ways in which they applied Balzacian principles and themes to their cinematic practice.

This book examines Shakespearean adaptations through the critical lens of fan studies and asks what it means to be a fan of Shakespeare in the context of contemporary media fandom.

With case studies including adaptations of the biographies and cultural personas of William Shakespeare, Jane Austen, Oscar Wilde, Sylvia Plath, Virginia Woolf, and Allen Ginsberg-to name a few-this book examines how and why the author continues to be a prominent screen and cultural preoccupation.

This book develops a new approach for the study of films adapted from canonical 'originals' such as Shakespeare's plays.

Nordic Noir, Adaptation, Appropriation deploys the tools of current adaptation studies to undertake a wide-ranging transcultural, intermedial exploration, adding an important new layer to the rich scholarship that has arisen around Nordic noir in recent years.

Furthermore, this book examines neo-Victorianism's relationship with postfeminist media culture and offers an analysis of the politics behind onscreen treatment of Victorian gender roles, family structures, sexuality, and colonial space.

This book deals with film adaptations of literary works created in Communist Czechoslovakia between 1954 and 1969, such as The Fabulous World of Jules Verne (Zeman 1958), Marketa Lazarova (Vlacil 1967), and The Joke (Jires 1969).

This book posits adaptations as 'hideous progeny,' Mary Shelley's term for her novel, Frankenstein . Like Shelley's novel and her fictional Creature, adaptations that may first be seen as monstrous in fact compel us to shift our perspective on known literary or film works and the cultures that gave rise to them.

Written for readers interested in how memory works on culture as well as screenwriting choices, the collection offers new perspectives on historical media and commercial media that is currently being produced, as well as on media created by the book's contributors themselves.

Film nonetheless provides the central focus, with analysis of both the corpus as a whole-from Dr. No to Spectre-and of particular films, from popular and much-discussed movies such as Goldfinger and Skyfall to comparatively under-examined texts such as the 1967 Casino Royale and A View to a Kill.

This book is the first full-length study to focus on the various film adaptations of Patricia Highsmith's novels, which have been a popular source for adaptation since Alfred Hitchcock's Strangers on a Train (1952).

By focusing upon a variety of 'Shakespearean' individuals, groups and communities and their 'online' presence, the book explores the role of popular internet culture in the ongoing adaptation of Shakespeare's plays and his general cultural standing.

This book offers the first comprehensive discussion of the relationship between Modern Irish Literature and the Irish cinema, with twelve chapters written by experts in the field that deal with principal films, authors, and directors.

With a particular focus on the serial narrative form, and with case studies that include Penny Dreadful, Fargo, The Night Of and Orange is the New Black, this study is essential reading for anyone who is interested in the complex interplay between television studies and adaptation studies.

This book gathers together essays written by leading scholars of adaptation studies to explore the full range of practices and issues currently of concern in the field.

This book explores the intersection between adaptation studies and what James F. The second section focuses on the juncture where adaptation, the canon, and awards culture meet, while the third considers alternative modes of locating and expressing prestige through adapted and adaptive intertexts.

The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, camp classics, and experimental texts, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap.

Written for readers interested in how memory works on culture as well as screenwriting choices, the collection offers new perspectives on historical media and commercial media that is currently being produced, as well as on media created by the book's contributors themselves.