The main subject of this thesis is film adaptation and film remakes with a specific focus on the study of emerging modes of adaptation from older media to new. This includes computer generated reconstructions of the iconography and characters of popular literary texts and early films, and media convergence forms (websites), which transfer and transform familiar media content from either TV shows or films to and for the Internet. I argue that the comparative analysis of processes such as the above and the rethinking of new media in general enable us to furt~er unseat the issue of fidelity and examine film adaptations within a framework of intertextual dialogism. I attempt to develop Robert Starn's embryonic concept of post-celluloid adaptation to cover the new technological developments involved in such processes. This leads to a working definition of this concept which essentially broadens the field of adaptation theory and regards as viable case studies the adaptations of popular visual narratives from analogue media to digital media. This definition intends to challenge the traditional perception of film adaptation, that is from a literary text to filmlTV, and to investigate how the aesthetics of digital forms require a different kind of critical analysis when these digital forms are created out of already familiar cultural productions. Furthermore, this thesis· examines the interconnectedness of the aesthetic and economic dimensions of post-celluloid adaptation and illustrates how the intertextual commodity form of popular texts redefines the relationship between the screen and the media literate viewer/user through the channels ofconvergence culture, which expand the mode ofexistence of a popular narrative.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:487291 |
| Date | January 2007 |
| Creators | Konstantinidis, Kostas |
| Publisher | University of Reading |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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