Adaptation 4.0: A State of Polymorphia (edited collection)

deadline for submissions: 
January 15, 2018
full name / name of organization: 
Aristotle University of Thessaloniki

Adaptation 4.0: A State of Polymorphia (edited collection)

Call For Papers

In The Oxford Handbook of Adaptation Studies, Thomas Leitch provides a concise account of the history of adaptation studies, dividing it into four periods: The “prehistoric period,” or “Adaptation Studies 0.0,” which culminates with the publication of George Bluestone’s seminal Novels to Film in 1957; “Adaptation Studies 1.0,” which offers the basic principles of adaptation (i.e. Geoffrey Wagner’s and Dudley Andrew’s categorizations) in a series of books that include paradigmatic case studies and ends with Brian McFarlane’s 1996 Novel to Film; “Adaptation Studies 2.0,” which proposes examination of the pop culture arena and offers more sophisticated analytical and evaluative methods and is introduced by Deborah Cartmell and Imelda Whelehan’s 1999 anthology, followed by Robert Stam and Alessandra Raengo’s two books as well as other significant publications; finally, “Adaptation Studies 3.0” is characterized by its embrace “of digital technologies” and its “suspicion of the limits of intertextuality as a methodological framework.”

The proposed collection aims to usher in the fifth period of adaptation studies, namely “Adaptation Studies 4.0.” The previous periods have provided us with a wealth of methodologies, theoretical concepts, and sophisticated paradigms of case-studies analyses. Yet, a number of persistent questions remain and they are the main topics this collection seeks to discuss. Among them, but not necessarily limited to, are:

  • What is the definition of an adaptation? What is it necessary for an adaptation to be treated as such only if the source acknowledges its status as a derivative work? What happens with films that are based on “true stories”? Aren’t they adaptations of the real events? Didn’t the filmmakers base their fictional narrative on newspaper articles, archival material, witnesses’ interviews (when possible) the same way a screenwriter reimagines a novel?
  • Why do adaptation studies predominantly examine Anglo-American film productions and sources?
  • What is being adapted in the last couple of decades? The absence of concrete data, even originating from the Hollywood paradigm, may lead to erroneous conclusions. Is the novel still the primary source in adaptation? What is the percentage of comics, graphic novels, children’s books, historical documents that lend their stories to film?
  • What happens with television adaptations whose long-form narrative can sometimes “overcome” the source?
  • In the era of transmediality, where does one locate the source and how are the different texts of a single transmedia universe used as sources themselves for new products (i.e. Harry Potter games adapt the characters as seen on film and not on the novels’ pages)?
  • What happens with transnational adaptations? How does Greek cinema adapt a Hollywood musical?
  • How do extra-textual parameters, such as producers’ input, censorship, specific sociopolitical situations affect the adaptation process?
  • How does the inherent visuality of some relatively new sources (comics, graphic novels, video games) influence film adaptations?
  • How do strong fan-based sources (comics, video games, television series) affect the box-office/ratings of an adaptation?

Other topics can include new theories and methodologies, the history of adaptation, the role of viewers in adaptation reception and data research.

 General Information & Important Dates

  • Abstracts (250-400 words), along with brief bio should be submitted to Betty Kaklamanidou ( by January 15, 2018.
  • Decisions will be sent to authors by February 1, 2018.
  • First drafts of papers (6-7,000 words, Chicago Manual Style, author-date in-text citations) are due by June 20, 2018.
  • All contributions will be subject to editorial evaluation. The submission of an essay does not imply automatic acceptance for the collection.
  • Additional questions and inquiries may be directed to Betty Kaklamanidou (