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Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List of Figures -- List of Contributors -- Acknowledgements -- Introduction to the companion -- Part I Mapping the field -- Works cited -- Chapter 1 Pause, rewind, replay: adaptation, intertextuality and (re)defining adaptation studies -- Intertextuality and the transformation of adaptation studies -- Language, metacriticism and conceptual analysis -- (Re)defining adaptation distinct from intertextuality - some tentative demarcations -- Pause, rewind, replay: an argument for adaptation studies -- Notes -- Works cited -- Chapter 2 The theory of badaptation -- Note -- Works cited -- Chapter 3 Adaptation and the concept of the original -- The original author -- The original work of art -- Universally valid interpretations -- Modern Fidelity Criticism and its uncertain demise -- Works cited -- Chapter 4 An evolutionary view of cultural adaptation: some considerations -- Introduction -- 1 Ipsative versus additive adaptation -- 2 Evolution, fidelity and equivalence -- 3 Evolution and the identification of adaptation -- 4 'Best fit': the matter of quality -- Conclusions -- Notes -- Works cited -- Part II Historiography -- Chapter 5 Towards a historical turn? adaptation studies and the challenges of history -- Case studies -- Synchronic histories of adaptations -- Diachronic histories of adaptation -- Notes -- Works cited -- Chapter 6 Not just the facts: adaptation, illustration, and history -- Works cited -- Chapter 7 Dialogism's radical texts, and the death of the radical vanguard critic -- Works cited -- Chapter 8 Adaptations and the media -- Works cited -- Chapter 9 Literary biopics: adaptation as historiographic metafiction -- Note -- Works cited -- Chapter 10 Notoriously bad: early film-to-video game adaptations (1982-1994) -- In defense of bad games -- A periodisation A history of marginality -- A history of domestication -- Conclusions -- Notes -- Works cited -- Chapter 11 Rosas: appropriation as afterlife -- Reappropriating oneself and the other -- Beyoncé's re-appropriation -- Note -- Works cited -- Chapter 12 Adaptations, culture-texts and the literary canon: on the making of nineteenth-century 'classics' -- Literary classics, or culture-texts -- A historical model of adaptation studies and canon formation -- Notes -- Works cited -- Part III Identity -- Chapter 13 Queer adaptation -- Introduction: what is queer adaptation? -- Characters and story -- Form -- Authorship -- Reception -- Performance -- Process -- Works cited -- Chapter 14 Fidelity, medium specificity, (in)determinacy: identities that matter -- (In)fidelity and medium (non-)specificity -- Performativity and (in)determinacy -- Pronouns and embodiment -- Age and visual ambiguity -- Conclusion -- Note -- Works cited -- Chapter 15 The critic-as-adapter -- The CAA as collaborator -- The CAA as creator -- The CAA as experimenter -- Notes -- Works cited -- Chapter 16 Adaptation's originality problem: "Grappling with the thorny questions of what constitutes originality" -- The chimera of originality -- Adaptation. is a profound process … -- What we talk about when we talk about originality -- Notes -- Works cited -- Chapter 17 Migration, symbolic geography, and contrapuntal identities: when death comes to Pemberley -- A sociology of adaptations: migration, change, and belonging -- Changed identities and fluid symbolic geographies -- Works cited -- Chapter 18 Adapting identities: performing the self -- Conclusion -- Notes -- Works cited -- Chapter 19 Adaptations down under: reading national identity through the lens of adaptation studies -- Notes -- Works cited -- Chapter 20 Adaptation and the australian film revival -- Based on …? -- From page to screen Other rites of passage -- Retrospect and hindsight -- Notes -- Works cited -- Part IV Reception -- Chapter 21 Embodying change: adaptation, the senses, and media revolution -- Experience expressing experience -- Narrative and iconophobia -- Technology and the senses -- Reflecting on experience in Shakespearean silent film -- Works cited -- Chapter 22 Great voices speak alike: Orson Welles's radio adaptation of Victor Hugo's Les Misérables -- Notes -- Works cited -- Chapter 23 Lux presents hollywood: films on the radio during the 'golden age' of broadcasting -- Notes -- Works cited -- Chapter 24 Reconfiguring the nordic noir brand: nordic Noir TV crime drama as remake -- The status of the remake -- The Nordic Noir brand: defining a style signature -- Appropriating Nordic Noir -- Conclusion: maintaining the brand -- Notes -- Works cited -- Chapter 25 Tweeting from the grave: Shakespeare, adaptation, and social media -- Notes -- Works cited -- Chapter 26 Adaptation, fidelity and reception -- Notes -- Works cited -- Part V Technology -- Chapter 27 Adaptation from the temporal to the spatial: materialising Dickens's imaginings -- Introduction -- Adapting thought -- Across media: brain, image, text, film, and beyond -- Conclusion -- Notes -- Works cited -- Chapter 28 An art of borrowing: the intermedial sources of adaptation -- Identity in adaptation's very fibre -- The remake: a substandard adaptation? -- Five aspects of adaptation -- The genealogy of cinema and adaptation -- Adoption or adaptation -- Adaptation and piracy: theatre versus cinema -- Piracy and … adaptation -- Conclusion -- Notes -- Works cited -- Chapter 29 Blurring the lines: adaptation, transmediality, intermediality and screened performance -- Works cited -- Chapter 30 Sidewalk stories: re-sounding silent film -- Note -- Works cited Chapter 31 Adaptation as a function of technology and its role in the definition of medium specificity -- Case study: defining British television through science fiction adaptation -- Notes -- Works cited -- Chapter 32 Sound stories: Audio drama and adaptation -- Work cited -- Chapter 33 Adaptation and new media: establishing the video game as an adaptive medium -- Works cited -- Chapter 34 Memes, gifs, and remix culture: compact appropriation in everyday digital life -- Mashup, remix, and cultural appropriation -- Animated GIFs as appropriations in ordinary culture -- Animated GIFs and meme culture -- Animated GIFs as short, non-terminating, repeating narratives -- The generic diversification of animated GIFs -- The historical precedents of animated GIFs -- Notes -- Works cited -- Index
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