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Introduction: Film adaptation in the post-cinematic era

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In recent years, adaptation studies has emerged as a field of urgent scholarly importance and, having moved past outdated presuppositions and prejudices, has revealed adaptation as a crucial form of dialogue between and among different media, texts and social–historical contexts. The proliferation of new technologies and new media, theorized as the digital post-cinematic era, but encompassing more than what Costas Constandinides calls the ‘post-¬≠celluloid’ (2010: 3), has arguably deepened this importance, implicating adaptation in previously unconsidered cultural arenas. In their common emphasis upon post-millennial cinema, all four articles in this dossier are based in the recognition that it is no longer possible to conceive of filmic adaptation as a straightforward movement from page to screen; that therefore we must turn our attention to the role new media technologies play in processes of dialogic mediation and identity formation, in the production (and elision) of inter-subjective and cultural difference, in the shaping of cultural memory, and in the very question of defining cinema in the early twenty-first century.
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Keywords: digital film/video; intermediality; nostalgia; post-cinematic adaptation; remediation; self-reflexivity; transmediation

Document Type: Research Article

Affiliations: Wilfrid Laurier University

Publication date: July 1, 2014

More about this publication?
  • Adaptation, or the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries. In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries. Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
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