Shannon Wells-Lassagne – författare

This book offers a new perspective on adaptation of books to the screen; by focusing on endings, new light is shed on this key facet of film and television studies. The authors look at a broad range of case studies from different genres, eras, countries and formats to analyse literary and cinematic traditions, technical considerations and ideological issues involved in film and television adaptions. The investigation covers both the ideological implications of changes made in adapting the final pages to the screen, as well as the aesthetic stance taken in modifying (or on the contrary, maintaining) the ending of the source text. By including writings on both film and television adaptations, this book examines the array of possibilities for the closure of an adapted narrative, focusing both on the specificities of film and different television forms (miniseries and ongoing television narratives) and at the same time suggesting the commonalities of these audiovisual forms in their closing moments.Adapting Endings from Book to Screen will be of interest to all scholars working in media studies, film and television studies, and adaptation studies.

As American television continues to garner considerable esteem, rivalling the seventh art in its "cinematic" aesthetics and the complexity of its narratives, one aspect of its development has been relatively unexamined. While film has long acknowledged its tendency to adapt, an ability that contributed to its status as narrative art (capable of translating canonical texts onto the screen), television adaptations have seemingly been relegated to the miniseries or classic serial. From remakes and reboots to transmedia storytelling, loose adaptations or adaptations which last but a single episode, the recycling of pre-existing narrative is a practice that is just as common in television as in film, and this text seeks to rectify that oversight, examining series from M*A*S*H to Game of Thrones, Pride and Prejudice to Castle.

Rather than limiting the cinema, as certain French New Wave critics feared, adaptation has encouraged new inspiration to explore the possibilities of the intersection of text and film. This collection of essays covers various aspects of adaptation studies--questions of genre and myth, race and gender, readaptation, and pedagogical and practical approaches.

This book offers a new perspective on adaptation of books to the screen; by focusing on endings, new light is shed on this key facet of film and television studies. The authors look at a broad range of case studies from different genres, eras, countries and formats to analyse literary and cinematic traditions, technical considerations and ideological issues involved in film and television adaptions. The investigation covers both the ideological implications of changes made in adapting the final pages to the screen, as well as the aesthetic stance taken in modifying (or on the contrary, maintaining) the ending of the source text. By including writings on both film and television adaptations, this book examines the array of possibilities for the closure of an adapted narrative, focusing both on the specificities of film and different television forms (miniseries and ongoing television narratives) and at the same time suggesting the commonalities of these audiovisual forms in their closing moments.Adapting Endings from Book to Screen will be of interest to all scholars working in media studies, film and television studies, and adaptation studies.

As American television continues to garner considerable esteem, rivalling the seventh art in its "cinematic" aesthetics and the complexity of its narratives, one aspect of its development has been relatively unexamined. While film has long acknowledged its tendency to adapt, an ability that contributed to its status as narrative art (capable of translating canonical texts onto the screen), television adaptations have seemingly been relegated to the miniseries or classic serial. From remakes and reboots to transmedia storytelling, loose adaptations or adaptations which last but a single episode, the recycling of pre-existing narrative is a practice that is just as common in television as in film, and this text seeks to rectify that oversight, examining series from M*A*S*H to Game of Thrones, Pride and Prejudice to Castle.

This book offers various approaches to understanding the short form in television. The collection is structured in three parts, first engaging with the concept of brevity as inherent to television fiction, before going on to examine how the rapidly-changing landscape of "television" outside traditional networks might adapt this trope to new contexts made accessible by streaming platforms. The final part of the study examines how this short form is inextricable from a larger context, either in its relation to seriality (from the crossover to the "bottle episode") and/or a larger structure, for example in the reception of a larger whole through short but evocative clips in order to better weigh their impact (from "Easter Egg" fan videos to "Analyses of"). The collection concludes with an interview with award-winning screenwriter Vincent Poymiro about his French series En therapie (an adaptation of BeTipul/In Treatment).

This book offers various approaches to understanding the short form in television. The collection is structured in three parts, first engaging with the concept of brevity as inherent to television fiction, before going on to examine how the rapidly-changing landscape of "television" outside traditional networks might adapt this trope to new contexts made accessible by streaming platforms. The final part of the study examines how this short form is inextricable from a larger context, either in its relation to seriality (from the crossover to the "bottle episode") and/or a larger structure, for example in the reception of a larger whole through short but evocative clips in order to better weigh their impact (from "Easter Egg" fan videos to "Analyses of"). The collection concludes with an interview with award-winning screenwriter Vincent Poymiro about his French series En thérapie (an adaptation of BeTipul/In Treatment).

This book engages with Margaret Atwood’s work and its adaptations. Atwood has long been appreciated for her ardent defence of Canadian authors and her genre-bending fiction, essays, and poetry. However, a lesser-studied aspect of her work is Atwood’s role both as adaptor and as source for adaptation in media as varied as opera, television, film, or comic books. Recent critically acclaimed television adaptations of the novels The Handmaid’s Tale (Hulu) and Alias Grace (Amazon) have rightfully focused attention on these works, but Atwood’s fiction has long been a source of inspiration for artists of various media, a seeming corollary to Atwood’s own tendency to explore the possibilities of previously undervalued media (graphic novels), genres (science-fiction), and narratives (testimonial and historical modes). This collection hopes to expand on other studies of Atwood’s work or on their adaptations to focus on the interplay between the two, providing an interdisciplinary approach that highlights the protean nature of the author and of adaptation.

This collection examines the relationship between illustration and adaptation from an intermedial and transcultural perspective.