Metadaptation: Adaptation and Intermediality – Cock and Bull
The paper for the usefulness of the term intermediality to account for hybrid intermedia and interart practices at the core of adaptation. Engaging with A Cock and Bull Story, Michael Winterbottom’s film adaptation based on Sterne’s Tristram Shandy,...
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The paper for the usefulness of the term intermediality to account for hybrid intermedia and interart practices at the core of adaptation. Engaging with A Cock and Bull Story, Michael Winterbottom’s film adaptation based on Sterne’s Tristram Shandy, the analysis skirts the difficulties signaled by the terms fidelity, literature, taxonomy, and evaluation. Instead, the paper’s method is based on isolating the levels of mediality, transmediality and intermediality. It holds that Winterbottom’s film adaptation of a foundational metafiction lays bare the specific mediality not only of literature and film. The movie’s system contamination is focused on the in-between process of adaptation. It follows that ‘metadaptations’ (i.e., texts that foreground their own adaptive processes) constitute an heuristically rich subgenre among adaptations.
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History: The Sitcom, England: The Theme Park - Blackadder's Retrovisions as Historiographic Meta-TV
In 2000, a survey conducted by military history publishers, Osprey, suggested that the 1980s television sitcom Blackadder has entered the collective memory of British schoolchildren to a great extent: many of them thought that the title character of...
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In 2000, a survey conducted by military history publishers, Osprey, suggested that the 1980s television sitcom Blackadder has entered the collective memory of British schoolchildren to a great extent: many of them thought that the title character of the series was a historical person. This arch-misunderstanding of historiographical re-imagining speaks both for the cultural power of the TV sitcom and for the peculiar conditions under which the metahistorical series Blackadder operated in 1980s Britain. What a shock it must have been for historians to realize that the next generation’s historical knowledge is to some extent being shaped by a television sitcom, which has been largely neglected in accounts of how national history has been conceived of in audiovisual media. In this chapter, I shall outline how the serial narrative of the television sitcom has contributed to a postmodernist, metahistoric social construction of history.
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