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Über dieses Buch

This book focuses on the significantly under-explored relationship between televisual culture and adaptation studies in what is now commonly regarded as the ‘Golden Age’ of contemporary TV drama. Adaptable TV: Rewiring the Text does not simply concentrate on traditional types of adaptation, such as reboots, remakes and sequels, but broadens the scope of enquiry to examine a diverse range of experimental adaptive types that are emerging within an ever-changing TV landscape. With a particular focus on the serial narrative form, and with case studies that include Penny Dreadful, Fargo, The Night Of and Orange is the New Black, this study is essential reading for anyone who is interested in the complex interplay between television studies and adaptation studies.

Inhaltsverzeichnis

Frontmatter

Chapter 1. Introduction

In this contemporary era of media convergence, every facet of the TV industry is adapting, from the ways in which shows are transmitted and consumed to the changing nature of the relationship between networks and the audiences they court. The cultural kudos of the medium as a purveyor of quality drama is on the rise. Part of this increasing kudos can be attributed to the emergence of a more innovative and boundary-pushing approach to the adaptation of pre-existing stories within the time-rich production context of TV’s long-form serial narrative, in a medium which is historically and industrially primed to embrace the art of adaptation as profitable industry practice. With particular reference to the serial narrative form, this chapter seeks to contextualise the process of adaptation within the parameters of TV production and consumption.
Yvonne Griggs

Chapter 2. Penny Dreadful: The Neo-Victorian ‘Made-for-TV’ Series

Penny Dreadful (20142016) is an exemplary neo-Victorian TV series that heralds the arrival of a new kind of serialised TV costume drama adaptation. Unlike the traditional, fidelity-driven ‘classic’ adaptations that dominated television screens pre-millennium, it taps into current audience desire for a more playful, less reverential adaptive treatment of canonical literature from the long nineteenth century. This chapter explores the ways in which the series breaches the boundaries of our perception of the TV costume drama genre, taking its audience into the darker realms of Gothic TV horror by wedding the transgressive elements of the canonical narratives it appropriates to its newly incepted neo-Victorian story arc.
Yvonne Griggs

Chapter 3. Fargo: To Be Continued…

The anthologised TV series, Fargo, is characterised by its intertextual complexity and by its capacity to appropriate a particular auteur style aesthetic over and above adaptation of narrative content. This chapter explores the ways in which adaptive processes at work in the series’ transition from film to TV revolve around various textual continuities that establish the series’ ongoing relationship with not only the film it references in its title but a range of Coen brothers’ films. These cultural, geographical, mythical and stylistic continuities also serve as points of departure that facilitate an expansion of the existing Fargo story world, affording the series its own distinctive identity, its own narrative momentum and visual aesthetic.
Yvonne Griggs

Chapter 4. Orange Is the New Black as ‘Living Text’: From Memoir to TV Series

The Netflix series, Orange is the New Black, is by no means a ‘faithful’ adaptation of the life experience recounted in Piper Kerman’s prison memoir. Rather, it is an imaginative extension thereof. This chapter explores the range of narrative strategies employed in the TV series as a means to building an ever-evolving fictional universe that operates within and beyond the parameters of the prison environment through the introduction of female-centred, emotively charged backstories which add other dimensions to the source text’s social critique of the prison system. It also interrogates the paratextual discourse that forms an intrinsic part of this series’ intertextually rich story world.
Yvonne Griggs

Chapter 5. The Night Of: A Remake ‘Original’

The remake is a particularly problematic mode of adaptation that crystallises the combative nature of discourse surrounding notions of adaptation as legitimate creative endeavour. This chapter explores The Night Of as a series which, despite its identity as a remake of the BBC series Criminal Justice (2008–2009), is capable of overriding its own status as a remake; emerging instead as a conspicuously authored HBO ‘original’ affiliated with the generic markers of the crime drama, the courtroom drama and the prison drama, it imbibes yet it also eclipses the text it adapts.
Yvonne Griggs

Backmatter

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