CFP: [Film] Call for submissions to book on teaching adaptation studies
Call for papers for proposed book on teaching adaptation studies.
Contributions invited from teachers and practitioners at all levels from
a variety of disciplines, particularly literature and film studied.
Contributions can be of any length, although we would prefer a minimum of
(8-10) A4 double-spaced pages. We would be interested in proposals (500
words maximum) outlining the scope and aims of a possible contribution.
Deadline 30th November 2007.
In recent years there has been a great deal of theoretical and practical
material published on adaptation studies. Among the major works include
Robert Stamâ€™s Literature Through Film (2005) and Linda Hutcheonâ€™s recent
Theory of Adaptation (2006), or Linda Cahirâ€™s Literature into Film (new
edn. 2007), all of which try to move the discussion of adaptation away
from issues of fidelity, and to interpret the idea of â€˜adaptationâ€™ as
something more than simply transforming a literary or fictional text into
a cinematic work.
However many of the questions about how adaptation studies might be
taught in the classroom, at whatever level, remains unaddressed - even
though adaptation studies are widely taught on a number of programs in
different departments, both in the United States and elsewhere. There
seems to be a need for a volume to address such issues, designed both for
teachers and students - that would not only sum up the major theoretical
and practical issues surrounding adaptation, but would also show these
issues operating in practice. The volume might also provide a guide as to
the breadth of work being done under the name of â€˜adaptation studiesâ€™.
The potential market for this volume would include students and teachers
of film studies, popular culture and literature at the university and/or
high school levels.
Some of the issues that might be focused on could include:
what is â€˜adaptationâ€™ - exactly what is adapted and how. What decisions
are made when a text is adapted and why? What is not an adaptation?
the social, cultural and economic forces that shape the act of
adaptation - these may include the particular context in history, or the
country in which the text is adapted; the vastness of adaptation;
transcultural adaptations; indigenization; trans-media adaptations (I.e.
adaptation from one medium to another), and the economic concerns that
both lead to and limit the scope of adaptation;
the scope of adaptation studies, which can encompass films and TV
programs adapted from other media as well as books - computer games,
video games. Are different criteria applied when different media are
involved? And does this depend on context?
responding to adaptations - what are the pleasures involved in watching
an adaptation; â€˜knowingâ€™ and â€˜unknowingâ€™ audiences; types of engagement
with an adaptation; degrees of immersion and detachment while watching an
adaptation (does one actually become engaged with the story or simply
evaluate what has been done to the â€˜originalâ€™ text - whatever kind of
text that might be).
the pleasures of adaptation - why do adaptations become more popular at
one point in history as opposed to others. Examples might include the
early days of Hollywood, when playwrights, poets and dramatists were
signed by the fledgling studios in order to invest the silent film
industry with a degree of â€˜respectabilityâ€™. Or one might look at the
modern era, with the profusion of goods available that have been â€˜adapted
fromâ€™ the original movie in order to promote it, or vice versa (e.g. the
Lara Croft franchise).
the relationship between adaptation studies and creative writing (picking
up on point 1) to what extent is an adaptation a creative piece of work
to be judged on its own merits, or does it have to be always compared
with the â€˜originalâ€™ text?
Individual contributions are invited, covering one or more of these
topics. As this book is designed as a textbook, the preferred focus might
be on how these issues have been dealt with in the classroom. Accounts of
particular teaching techniques and/or methods would be welcome, as would
any contributions that engage with theoretical issues concerning
adaptation, and how they might be discussed in the classroom. The focus
should be as wide as possible, and not simply restricted to film/literary
texts, giving some idea of the range of material covered in adaptation
studies. Please send submissions to:
Dennis Cutchins, Brigham Young University, Dept. of English & Laurence
Raw, Baskent University, Dept. of English, Ankara, Turkey
Email: dennis_cutchins_at_byu.edu, l_rawjalaurence_at_yahoo.com
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Received on Tue Sep 04 2007 - 15:21:38 EDT