By Linda Hutcheon
A concept of variation explores the continual improvement of inventive variation, and argues that the perform of adapting is principal to the story-telling mind's eye. Linda Hutcheon develops a thought of edition via more than a few media, from movie and opera, to games, pop tune and topic parks, analysing the breadth, scope and inventive chances inside each.
This new version is supplemented via a brand new preface from the writer, discussing either new adaptive forms/platforms and up to date severe advancements within the examine of variation. It additionally good points an illuminating new epilogue from Siobhan O’Flynn, targeting model within the context of electronic media. She considers the impression of transmedia practices and homes at the shape and perform of variation, in addition to learning the extension of video game narrative throughout media structures, fan-based version (from Twitter and fb to domestic movies), and the variation of books to electronic formats.
A concept of version is the fitting advisor to this ever evolving box of research and is key studying for a person attracted to edition within the context of literary and media reviews.
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Extra resources for A Theory of Adaptation
To be more precise, it is the “res extensa”—to use Descartes’ terminology—of that world, its material, physical dimension, which is transposed and then experienced through multisensorial interactivity (Grau 2003: 3). This heterocosm possesses what theorists call “truth-of-coherence” (Ruthven 1979: 11)—here, plausibility and consistency of movement and graphics within the context of the game (Ward 2002: 129)—just as do narrated and performed worlds, but this world also has a particular kind of “truth-ofcorrespondence”—not to any “real world” but to the universe of a particular adapted text.
The interactive, physical nature of this kind of engagement entails changes both in the story and even in the importance of story itself. If a ﬁlm can be said to have a three-act structure—a beginning in which a conﬂict is established; a middle in which the implications of the conﬂ ict are played out; an end where the conﬂict is resolved—then a videogame adaptation of a ﬁ lm can be argued to have a diﬀerent three-act structure. The introductory material, often presented in what are called “movie cut-scenes,” is the ﬁrst act; the second is the core gameplay experience; the third is the climax, again often in ﬁ lmed cut-scenes (Lindley 2002: 206).
In ontological shifts, it makes little sense to talk about adaptations as “historically accurate” or “historically inaccurate” in the usual sense. Schindler’s List is not Shoah (see Hansen 2001) in part because it is an adaptation of a novel by Thomas Keneally, which is itself based on survivor testimony. In other words, it is a paraphrase or translation of a particular other text, a particular interpretation of history. The seeming simplicity of the familiar label, “based on a true story,” is a ruse: in reality, such historical adaptations are as complex as historiography itself.