By Linda Hutcheon
A concept of version explores the continual improvement of inventive variation, and argues that the perform of adapting is valuable to the story-telling mind's eye. Linda Hutcheon develops a idea of model via a number of media, from movie and opera, to games, pop song and subject matter parks, analysing the breadth, scope and inventive probabilities inside of each.
This new version is supplemented through a brand new preface from the writer, discussing either new adaptive forms/platforms and up to date serious advancements within the examine of variation. It additionally good points an illuminating new epilogue from Siobhan O’Flynn, targeting edition within the context of electronic media. She considers the effect of transmedia practices and houses at the shape and perform of variation, in addition to learning the extension of online game narrative throughout media structures, fan-based variation (from Twitter and fb to domestic movies), and the variation of books to electronic formats.
A concept of edition is the perfect advisor to this ever evolving box of research and is vital examining for an individual attracted to edition within the context of literary and media reports.
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Extra resources for A Theory of Adaptation
Instead, texts are said to be mosaics of citations that are visible and invisible, heard and silent; they are always already written and read. So, too, are adaptations, but with the added proviso that they are also acknowledged as adaptations of speciﬁc texts. Often, the audience will recognize that a work is an adaptation of more than one speciﬁc text. For instance, when later writers reworked—for radio, stage, and even screen—John Buchan’s 1914 novel, The ThirtyNine Steps, they often adapted Alfred Hitchcock’s dark and cynical 1935 ﬁlm adaptation along with the novel (Glancy 2003: 99–100).
We cannot, however, get at the interior of the characters’ minds as they listen; they must visibly, physically embody their responses for the camera to record, or they must talk about their reactions. Of course, this ﬁ lm contains lots of performed talk about music, art, and many other things, and not only in this rather overt lecture form. Interacting with a story is diﬀerent again from being shown or told it—and not only because of the more immediate kind of immersion it allows. As in a play or ﬁlm, in virtual reality or a videogame, language alone does not have to conjure up a world; that world is present before 26 A Theory of Adaptation our eyes and ears.
We do get to hear the full orchestral version of the symphony on the soundtrack (nondiegetically), but only after she leaves the hall, pursued by the young man whose umbrella she has taken by mistake. Although Forster uses this scene to tell us about the imaginative and emotional world of Helen Schlegel, the ﬁlm makes it the occasion to show us Helen meeting Leonard Bast in an appropriately culturally loaded context. In terms of plot action, that is indeed what happens in this scene, and so this is what the ﬁlm aims to achieve.