Hutcheon, Linda. HUTCHEON, A Theory of Adaptation. Using or borrowing from stories in passing seems to be allusion rather than true adaptation. Linda Hutcheon holds the rank of University Professor Emeritus of English and Comparative Literature at the University of Toronto. A short summary of this paper. For Hutcheon, learning to look at adaptations with “double vision,” i.e. Linda Hutcheon, A Theory of Adaptation. Summary (via Goodreads): A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Take your favorite fandoms with you and never miss a beat. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. The first chapter in the book A Theory of Adaptation by Linda Hutcheon is called “Beginning to Theorize Adaptation”. Hutcheon rejects fidelity discourse as a method of discussing adaptations because it creates a false hierarchy—the adaptation becomes secondary to the original. Introduction Linda Hutcheon, an Emeritus University Professor, is working in the field of literary theory and criticism, opera, and Canadian studies. Print. Hutcheon suggests that the value of adaptations is that they can be analyzed as stories that are repeated in a particular culture for a reason. 2nd Ed. ( Log Out / 2003. First, an adaptation is an “acknowledged transposition of a recognizable other work or works” (35). A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. ISBN (hardcover) 0-415-96794-5. Seger, Linda. The Need for New Models C ontrary to the negative opinion of both current academic New York: Routledge. They are repetitions of a familiar story, but not replications. Building on what she terms Hutcheon's notion of "adaptive intertextuality," Parody teases out the logic whereby an adaptation of a franchise brand can function as a "specifi c franchise installment," yet exist in an intertextual relationship with other content generated within "the entire franchise multitext." Finally, an adaptation must be an “extended intertextual engagement with the adapted work” (35). Watch popular content from the following creators: LucasALT(@lucasbinningalt), Adapt(@adapt93), a(@bunnyc4t), Bryce Vaughn(@da_narrator) . Audience members who are familiar with other versions of the story experience adaptations in dialogue with every version they remember. Theory of Adaptation 67 Keywords: Linda Hutcheon, A Theory of Adaptation, Source text, fidelity, coding, decoding, transformation. Cambridge, MA:Harvard University Press. HUTCHEON, A Theory of Adaptation. A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. “Who” and “Why” mean looking at the adapters—the author of an adaptation, like the author of the adapted text, is creating a work of art that is meant to convey a message to those who consume it. all may present stories, but the audience is required to engage by physically moving in time and space in order to receive the story. When viewed with “double vision,” adaptations become like a situation or event that journalists report on: in order to understand the situation (the adaptation itself), one must ask about the people involved in making it happen (the adapters), and those who experience it (the audience). Stories like Carmen change in different contexts—in one time and place Carmen may be represented as a femme fatale victimizer in a story about ethnic otherness; in another, she may be represented as an admirably strong and independent woman in a story about sexual politics. Gris Grimly's Frankenstein by Gris Grimly. New York: Routledge, 2006. The audience engages with this mode in a direct sensory manner by actually seeing and hearing the story. “Where” and “When” mean looking at the context in which the adaptation was created and the context in which it was received. There are many forms of adaptations and each producer will adapt an original text in their own unique way. New York and London: Routledge, 2006. xviii + 232 pp. In the same year as Convergence Culture, Linda Hutcheon made her major contribution to adaptation studies, A Theory of Adaptation. In 2006, Linda Hutcheon was considered the most influential literary scholar in Canada and one of fifty key literary theorists worldwide ().Her basic stance can be called dialectic: more often than not, she argues for a balanced position in which two apparent opposites are reconciled in a third term that does not reconcile them but retains them in ironic and creative tension. Linda Hutcheon … In A Theory of Adaptation, Linda Hutcheon posits a theory of analyzing “adaptations as adaptations” that provides an answer to the question: how can adaptations be theorized without resorting to fidelity discourse? What the story is fundamentally about changes with context. They need to interpret the work and understand what really is going on. Although many experienced scholars in the field of adaptation studies have moved beyond the temptation to simply discuss whether an adaptation is faithful to its source text, newcomers to the field may still need to learn how to analyze an adaptation without giving in to this same temptation. HUTCHEON, A Theory of Adaptation. Hutcheon, Linda. Hutcheon looks at adaptations as a secondary work from the original. Hutcheon, Linda, 1947-; O'Flynn, Siobhan This volume explores the development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. “How” means looking at the audience and how they receive and interact with the adaptation as an adaptation. I n the opening scene of Robert Altman’s The Player (1992)—adapted from the 1988 Michael Tolkin novel of the same name—studio executive Griffin Mill (Tim Robbins) hears two pitches. 2013. Cambridge, MA: MI Press. The first, from a pair of screenwriters, revolves around a T.V. 37 Full PDFs related to this paper. The Art of Adaptation: Turning fact and fiction into film. In her recent book A Theory of Adaptation, Linda Hutcheon does not leave room for this double definition of The Tamer Tamed. stories that have changed over time, and that show evidence of change. Linda Hutcheon makes sure she leaves her definition of Adaptation clear: it is repetition without replication. Songs, video games, films, books can be adaptations; but, they must meet three criteria cmpletely. The overall point of this chapter is to get an understanding of the basics of adaptations such as the definition, background, what gets adapted, how things get adapted, and the process of adaptation. The adapters have to be “first interpreters and then creators” (Hutcheon 18). 1992. “Salvaging” refers to the act of saving an old text from being forgotten, or paying homage to a previous text. Although much of this theoretical material is cursorily explained in the introduction and first chapter, the subsequent chapters break down each of the journalistic questions and their relationships to the modes of engagement in adaptations. It is composed of two structural levels, of which the first one is an authority, the second—a transgression of the authority. A Theory of Adaptation theorizes how adaptation works across all media and genres in a way that attempts at last to put an end to the age-old question of whether the book was better than the movie, or the opera, or the theme park. Asking “How” allows for analysis of the affect of forms on the “knowing” audience’s experience of the story. This paper. New York: Routledge, 2006. Download PDF. Theory of Adaptation Linda Hutcheon defined the phenomenon of adaptation into three distinct but interrelated perspectives to refer to the process and the product. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. Although those who have long been interested in cultural studies may not need a defense of these forms of artistic production, Hutcheon’s defense may help convince those who tend to overlook adaptations as “lower” cultural forms to see their intellectual value. A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. The ending or conclusion of the adaptation can be totally altered. A work that does not acknowledge that it is an adaptation of other texts would not be “adaptation.” Although Hutcheon does not directly say so, it seems that she views unacknowledged repetitions of a story as non-creative, or perhaps unintentional or even malicious appropriation. Hutcheon talks about how Andersen’s The Little Mermaid was adapted into a musical. Adaptations exist in particular times, places, societies, and cultures. Print. A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Although adaptations are “derived from” other texts, they are not “derivative” or of lesser value; rather than using hierarchical terms like “original” or “source,” Hutcheon suggests the term “adapted text” to refer to the text/s that an adaptation is drawing upon. Hutcheon, Linda. Print. For these newcomers, Hutcheon’s book provides a reason to value adaptations as cultural artifacts, an easily digestible definition of adaptation that eliminates complexities from its purview, and a holistic theory of analyzing adaptations. Change ), “Hyperread: Children’s Literature, CD-ROMs, and the New Literacy.” Critical Summary, Critical Thinking Article: “Spinning Off: Toys, Television, Tie-Ins, and Technology”, Critical Article/Chapter Summary Instructions, Unwanted Personal Contact and Risky Situations In Ten Disney Animated Feature Films, Speaking to Both Children and Genre: Le Guin’s Ethics of Audience, “Prizing Children’s Literature: The Case of Newbery Gold”. She excludes sequels from the category of adaptation, on the notion that “there is a difference between never wanting a story to end […] and wanting to retell the same story over and over in different ways” (9). Summary A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. linda hutcheon a theory of adaptation 2.5M views Discover short videos related to linda hutcheon a theory of adaptation on TikTok. Asking these questions allows for analyses that include the cultural import of adaptations. Hutcheon has some very good points that she stated in the first chapter. I think this is important that the adapters take the original work and break it down. The Showing mode includes visual and aural story elements—anything with pictures or sound—movies, plays, operas, radio dramas, musicals, songs, comics, etc. Adaptations are universal and repeated with variation constantly. Although many experienced scholars in the field of adaptation studies have moved beyond the temptation to simply discuss whether an adaptation is faithful to its source text, newcomers to the … However, the narrowness of the definition is precisely what makes it suitable for new students in the field. Adaptations are universal and repeated with variation constantly. For Hutcheon, the pleasure of adaptations is in the experience of dialogue between versions and their different forms—repetition of a familiar story, but with variation. She rarely mentions 'appropriation'. The Little Mermaid was mentioned in the chapter. The Participatory/Interactive mode involves the physical participation of the audience in the story being presented. A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. https://adaptations.fandom.com/wiki/Linda_Hutcheon,_A_Theory_of_Adaptation_(2006)?oldid=6760. Her book A Theory of Adaptation (2006) examines the traditional way criticism has dealt with adaptations and attempts to establish a more productive theoretical groundwork for analyses, one that does not only compare, and regards differences as faults. Hutcheon states that, “When we call a work an adaptation, we openly announce its overt relationship to another work or works” (Hutcheon 6). There is a lot of information packed into one chapter. Complete with extensive illustrative examples including things as diverse as Shakespeare’s plays, a historical account of the death of sixteen Carmelite nuns during the Reign of Terror in France that became novels, plays and films (Dialogue Des Carmelites), the James Bond and Die Hard video games, and the Barbie puppet opera XXX_LiveNude Girls, readers can see Hutcheon’s theory at work in each chapter, making the book worthwhile introductory material for new students of adaptation studies. She stated in the first one is an “ acknowledged transposition of recognizable... How they receive and interact with the eyes and imagination that themes are easy to allusion! 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