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      <title>‘A movie about flowers?’ Notes on the ecological turn in adaptation studies</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;This article takes up and responds to the recent ecological turn in adaptation studies, exploring the discipline’s widespread interest in the overlap between the notion of adaptation in evolutionary biology and the notion of adaptation in literature, film, and media studies. It argues that in order to develop a historically and ecocritically alert approach to adaptation studies, it is necessary to unpack what is at stake in using biological terms and paradigms to study adaptation in art. Firstly, it offers a survey of several studies that have explored the overlap between adaptation in nature and adaptation in culture, arguing that these have been overly influenced by the notions of neo-Darwinism that were popularized by Richard Dawkins in The Selfish Gene (1976). Secondly, it offers a rereading of the film that has become a primary case study among theorists who have reached for biological metaphors to explain cultural change: Adaptation (2002). It argues that whereas scholars have often tended to use Adaptation as a springboard from which to launch an exploration of the purported homology between adaptation in nature and adaptation in art, in fact, the film’s evolutionary themes are clearly historicizable, tied to a set of values coordinated around ideas of heteronormative reproductivity, dissemination, and growth. Examining those values helps to demonstrate how the film’s evolutionary themes are deployed as part of its representational strategies, thereby challenging the idea that they might be unproblematically used to describe the overlap between adaptation in biology and adaptation in art.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/320/7709683</link>
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      <pubDate>Tue, 25 Jun 2024 16:00:00 GMT</pubDate>
      <author>Tomas Elliott</author>
      <category>adaptation</category>
      <category>evolution</category>
      <category>Darwin</category>
      <category>Charlie Kaufman</category>
      <category>ecocriticism</category>
      <category>biology</category>
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      <title>Wong Kar-wai’s Argentine Affair: Happy Together as a Translingual and Multimodal Adaptation</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;In 2021, a 4K-restored rendition of Wong Kar-wai’s iconic film Happy Together (1997) returned to theatres across Hong Kong, Taiwan, and Argentina, marking the film’s enduring transnational appeal two decades after its Cannes premiere. This article investigates the film’s intricate cultural ties to Argentina. I argue that Happy Together not only enhances the cultural connections between Hong Kong and Argentina but also showcases Wong’s translingual and multimodal approaches to film adaptation. ‘Translingual’ refers to the film’s literary source: I demonstrate how Wong skilfully wove elements from Manuel Puig&#39;s 1973 novel The Buenos Aires Affair into his film through a threefold Spanish-English-Chinese process of rewriting. Subsequently, I contend that various cultural facets of Argentina—the literature of Puig, the soundscape of Piazzolla’s tango, and the landscapes of the Iguazú Falls and Tierra del Fuego—contributed significantly to the Hong Kong auteur’s multimodal adaptation. In short, this article proposes a dialogic perspective on Hong Kong cinema by considering Argentina as a reflective mirror brimming with aesthetic and geopolitical implications. Through the lens of Happy Together, this study moves beyond Western-centric reception paradigms by spotlighting the cultural and socio-political affinities between Latin America and Asia, thus bringing to the forefront the often-overlooked transpacific connections within the Global South.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/230/7694312</link>
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      <pubDate>Sun, 16 Jun 2024 16:00:00 GMT</pubDate>
      <author>Wenxin Liang</author>
      <category>Hong Kong cinema</category>
      <category>Wong Kar-wai</category>
      <category>Manuel Puig</category>
      <category>Argentine tango</category>
      <category>transpacific studies</category>
      <category>multimodal adaptation</category>
    </item>
    <item>
      <title>Adaptations of masculinity: mapping the affective power of Achilles and Patroclus</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;The Greek myth of Achilles and Patroclus, two of the heroes of the Trojan War, has served various ideological purposes in adaptive revisions. The central question of this article is how the story lends itself to different interpretations and ideological projects across time. Building on concepts of affect, power, and cartographical reading, as described by Gilles Deleuze, the analyses highlight the potential of the myth to do different things. The examples analysed are Christa Wolf’s novel Kassandra, Madeline Miller’s novel The Song of Achilles, and a figure skating routine by French elite skater Kevin Aymoz. A comparison of these adaptations shows how the myth can be used to celebrate alternative notions of masculinity and challenge homophobic discourses. Furthermore, the comparison highlights figure skating as a mode of adaptation where a performer becomes a character, thus underlining the affirmative potential of the sport.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/301/7693282</link>
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      <pubDate>Thu, 13 Jun 2024 16:00:00 GMT</pubDate>
      <author>Per Esben Svelstad</author>
      <category>The Song of Achilles</category>
      <category>Miller</category>
      <category>Madeline</category>
      <category>Aymoz</category>
      <category>Kevin</category>
      <category>affect</category>
      <category>queer reading</category>
      <category>the Trojan War</category>
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      <title>Horses, gender, and (queer) masculine desire, or how experimental found footage film recycles three Hollywood films</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;Although the experimental found footage film recycles Hollywood films so that the outcome may radically differ from the original story, there are no accounts on how it adapts images from mainstream cinema to represent human–animal relations, linking to gender and masculinity. To fill this gap, I discuss how experimental film Horsey recycles footage from three Hollywood productions—Reflections in a Golden Eye, The Swimmer, and The Black Stallion—to construct a new narrative, which displays a very close conformity to the prior text, shifting the focus to human–horse interactions. Raising questions about the traditional understanding, scope, and limits of adaptation in avant-garde film studies, Horsey fits in with the broader tradition of cinematic recycling of mainstream cinema as it exemplifies intertextuality as a direct form of quotation, taking quotation as appropriation through cuts, detournement, compilation and free association. Particularly, following Guy Barefoot’s understanding of adaptation as an intertextual form of recycling, Horsey is distinctive in its sole use of found footage from the three Hollywood films as it fully acknowledges the recycled material, strongly alluding to the original stories, and simultaneously re-processes them through a collage of pre-used footage, slow motion, washed-out colours, and an altered soundtrack. Despite appearing to merely extract images and sounds from Reflections, The Swimmer, and The Black Stallion, Horsey emerges as a productive site for recycling Hollywood cinema, placing it into new contexts and audio-visual configurations and offering more complex, engaging ways of looking at how humans connect to horses.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/265/7691286</link>
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      <pubDate>Mon, 10 Jun 2024 16:00:00 GMT</pubDate>
      <author>Kornelia Boczkowska</author>
      <category>recycling</category>
      <category>experimental found footage film</category>
      <category>Hollywood film</category>
      <category>human–horse relations</category>
      <category>gender</category>
      <category>masculinity</category>
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      <title>Austen, adaptation, and American literature: an analysis of Ibi Zoboi’s Pride</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;After writing her first novel American Street, Ibi Zoboi turned to romance for refreshment. But the original drafts of Pride disappointed Zoboi, for they were too sociopolitical for her present purpose. Zoboi’s editor suggested that she import the plot of Jane Austen’s Pride and Prejudice into her manuscript as a supportive architecture, and her longed-for romance novel bloomed into being. In the following article, I conclude that Zoboi did not simply strip her novel of its intellectual, social, and political activity when she foregrounded romance and the experience of being a Black teenager in a rapidly gentrifying neighbourhood in Pride. Rather, I find that Zoboi relocated that alternative activity underground, to lower strata of her novel. In other words, I identify a significant level of subtextual and specifically literary activity going on in Zoboi’s Austen adaptation. Studying this phenomenon promises insight into the myriad purposes and possibilities associated with adapting Jane Austen (and other highly canonical authors) in the twenty-first century. Zoboi harnesses the power of adaptation, and specifically its built-in intertextuality, to imagine and ensconce African American futures. Then, Pride proves a special illumination of the relationship between adaptation and Afrofuturism. In these pages, I survey this literary layering of Pride, and I argue that Ibi Zoboi’s book, with all its rich ores of intertextuality, ought to be interpreted as a metafictional meditation on the acts of reading and writing. In addition, I indicate how this activity implicates Pride as a seminal Afrofuturist text.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/253/7688446</link>
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      <pubDate>Wed, 05 Jun 2024 16:00:00 GMT</pubDate>
      <author>Kelsey McQueen</author>
      <category>Austen</category>
      <category>adaptation</category>
      <category>Afrofuturism</category>
      <category>Ibi Zoboi</category>
      <category>Zora Neale Hurston</category>
      <category>American literature</category>
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      <title>The ‘full-flowing stomach’: unwholesome food, climate, and colonialism in King Lear and Kristian Levring’s The King is Alive</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;This article considers Kristian Levring’s 2000 film The King is Alive from a radically open historicist methodology, analysing the film as a product of multiple interleaved archives. An adaptation of King Lear, the film’s relevant archive includes documents from the English Renaissance like the early modern recipe books and seventeenth-century medical treatises that this article uncovers. Yet because The King is Alive was filmed in an abandoned German mining colony in the Namib desert, the archive must also include accounts of the colonialist ‘Scramble for Africa’ more than two centuries after King Lear was written. The methodological deftness of history-as-adaptation allows us to see the film’s anxieties about food that rest at the nexus of these two archives. Shakespeare’s play worries about liminal foods—species-specific foods, foods that fail to nourish, and foods that become poison—but the film updates these concerns to implicate Western imperialism and global capitalism. Surrounded (and, in one instance, killed) by potentially botulistic cans of carrots that remain after the German occupation, the characters in the film must grapple with the toxic leftovers of colonialism, including Shakespeare’s playtext. The film thus asks its audience to consider further archives related to the imperialist roots of the invention of canning, the discovery of vitamins, and the export of Shakespeare as a ‘civilizing’ figure. Finally, the film gestures to the foodway challenges exacerbated by both capitalism and climate change, becoming a palimpsest of archives from across multiple temporalities: a Shakespearean past, a colonialist present, and a warming future.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/284/7689141</link>
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      <pubDate>Wed, 05 Jun 2024 16:00:00 GMT</pubDate>
      <author>Seth Swanner</author>
      <category>historicism</category>
      <category>adaptation</category>
      <category>food studies</category>
      <category>colonialism</category>
      <category>Shakespeare</category>
      <category>ecocriticism</category>
    </item>
    <item>
      <title>‘This is the fate I choose’: Elsinore and thoughtful choice in Shakespeare games</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;Interactivity is one of, if not the most, crucial factor in video game adaptations of literature. The 2019 point-and-click adventure game Elsinore makes the most of its interactivity by building its narrative and gameplay around structural and thematically relevant aspects of the source text, Hamlet. Specifically, the combination of knowledge and motivation, central to the philosophy of prohairesis or thoughtful choice, is also an essential element of a fulfilling game experience. Additionally, it is meaningful that Elsinore leverages its focus on choice to make Ophelia their player-character. In short, this article argues that interactive genres, specifically video games, are a natural fit for the Early Modern fixation on thoughtful choice, especially representations of characters infamous for their lack of choice. Furthermore, these adaptations continue to represent an encouraging future for the commercial success of such works and future scholarship in adaptation theory.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/212/7681855</link>
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      <pubDate>Thu, 23 May 2024 16:00:00 GMT</pubDate>
      <author>Julia Wold</author>
      <category>Shakespeare</category>
      <category>Ophelia</category>
      <category>videogames</category>
    </item>
    <item>
      <title>Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness is a vital contribution to adaptation studies. Its focus on Blackness on both page and screen powerfully demonstrates the stakes of adaptation for cultural production, representation, and cultural autonomy. Divided into five sections—Black Literary/Film Adaptations in Scholarly and Historical Contexts; Colonial Anxieties and Reclaimed Identities; Hollywood’s Problematic Reconstructions; Black Literature’s Challenge for Screen Adaptations; and Black Auteurs Defying Dominant Norms—the collection’s eleven essays focus on twentieth-century Black film adaptations. As two of the volume’s editors, Charlene Regester and Cynthia Baron, note in their introduction, these chapters ‘consider how Black literary and filmic texts become sites of negotiation between dominant and resistant perspectives in racialized societies’ (3) in attempting to answer the book’s ‘central research question: what insights about society, cinema, and literary works become visible when the scholarship concentrates on film adaptations involving Black writers, directors, or stories?’ (4). Grappling with this question is long overdue in adaptation studies, as Regester and Baron evidence in their tracing of the lack of frequency with which the field has addressed Blackness and film adaptation, most often limited (where it appears at all) to a single chapter in a collection or monograph.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/338/7681662</link>
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      <pubDate>Thu, 23 May 2024 16:00:00 GMT</pubDate>
      <author>Gillian Roberts</author>
    </item>
    <item>
      <title>Miike Takashi’s Crows Zero and adaptive authorship revisited</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;This article contributes to the scholarship on Japanese director Miike Takashi, who has gained increasing international recognition over the past two decades. Through a case study of Miike’s manga-inspired live-action film, Crows Zero (2007), I delve into specific aspects of the film’s settings, especially poetry and linguistic sings, to explore authorship from a comparative perspective and its manifestation in transmedia adaptation. This analysis draws upon Thomas Leitch’s concept of adaptive authorship and rethinks the historical dichotomy between the auteur and the metteur-en-scène, as originally delineated by François Truffaut. By arguing that Miike’s role in the film is neither a mere adapter lacking creativity nor a consistent artist, and by highlighting instances of directorial authorship in the film’s nuanced details, I question the tendency in film studies that adaptive authorship is often overshadowed by, and eventually integrated into, auteurship to the point where it can only be examined within broader auteurist analyses. Thus, this case study underscores the advantages of an adapter-based approach over an auteurist one, suggesting that moving beyond the doctrines of consistency and coherence may facilitate the identification of authorship from different perspectives.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/167/7667176</link>
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      <pubDate>Tue, 07 May 2024 16:00:00 GMT</pubDate>
      <author>Yi Sun</author>
      <category>film adaptation</category>
      <category>film authorship</category>
      <category>adaptive authorship</category>
      <category>Miike Takashi</category>
      <category>auteur theory</category>
      <category>Japanese cinema</category>
    </item>
    <item>
      <title>Continuation and desperation in contemporary multiseason television drama</title>
      <description>&lt;h2&gt;Abstract&lt;/h2&gt;&lt;p&gt;This paper examines how multiseason drama serials, including those characterized as ‘quality’ or ‘complex’ television, deliver their continuation across multiple seasons. It proposes ‘desperation’ as a distinctive storytelling modality in which continuation itself and the narrative means by which continuation is managed are brought to the fore, charting how this is deployed by many shows which use season-long stories and/or stories which run for the lifetime of the show. Dramas derived from literary sources are examined alongside those where original narratives are drafted while they are already underway, and the relationship among continuation, seriality, adaptation, and literary/story-telling models is considered. Finally, through discussion of ‘show bibles’ and ‘pitch bibles’ it contends that continuing dramas effectively adapt themselves through the manner in which earlier seasons generate models and possibilities for those that follow.&lt;/p&gt;</description>
      <link>https://academic.oup.com/adaptation/article/17/2/191/7664334</link>
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      <pubDate>Thu, 02 May 2024 16:00:00 GMT</pubDate>
      <author>Jeremy Strong</author>
      <category>television drama</category>
      <category>continuation</category>
      <category>adaptation</category>
      <category>serial</category>
      <category>series</category>
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