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PALGRAVE STUDIES IN
ADAPTATION AND VISUAL CULTURE
Adapting
Television
and
Literature
Edited by
Blythe Worthy
Paul Sheehan
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Palgrave Studies in Adaptation and Visual Culture
Series Editors
Julie Grossman
Le Moyne College
Syracuse, NY, USA
R. Barton Palmer
Atlanta, GA, USA
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This series addresses how adaptation functions as a principal mode of text
production in visual culture. What makes the series distinctive is its focus
on visual culture as both targets and sources for adaptations, and a vision
to include media forms beyond film and television such as videogames,
mobile applications, interactive fiction and film, print and nonprint media,
and the avant-garde. As such, the series will contribute to an expansive
understanding of adaptation as a central, but only one, form of a larger
phenomenon within visual culture. Adaptations are texts that are not singular but complexly multiple, connecting them to other pervasive plural
forms: sequels, series, genres, trilogies, authorial oeuvres, appropriations,
remakes, reboots, cycles and franchises. This series especially welcomes
studies that, in some form, treat the connection between adaptation and
these other forms of multiplicity. We also welcome proposals that focus on
aspects of theory that are relevant to the importance of adaptation as connected to various forms of visual culture.
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Blythe Worthy • Paul Sheehan
Editors
Adapting Television
and Literature
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Contents
1 Introduction:
Genesis of the Tele-Text 1
Blythe Worthy and Paul Sheehan
Part I Comic Noir 19
2 The
Aesthetics of Television: Genre, Auteur, Canon 21
Paul Giles
3 Institutionalising
the ‘Bad’ Postfeminist: Phoebe
Waller-­Bridge’s Fleabag from Stage to Television 43
Heebon Park-Finch
4 G
enre Trouble: Netflix’s Lady Dynamite and Self-Help
Television 63
Rodney Taveira
Part II Outlaws, Criminals, Auteurs 83
5 What
Is Television? Two Auteur Series in Literary
Contexts 85
Thomas Britt
vii
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viii
Contents
6 Retcon,
Race, and Retransmission: The Role of HBO’s
Watchmen in Contemporary Storytelling105
Ryan Twomey
7 E
ntente cordiale: Netflix’s Lupin and the BBC’s Sherlock,
a Tale of Two Fandoms123
Shannon Wells-Lassagne
Part III Queering Young Adulthood 143
8 Breaking
the Curse of Knowledge: Adaptation, Ethics,
and Enchantment in Netflix’s Heartstopper145
Debra Dudek
9 Hearing
with Eyes and Seeing with Ears: Adaptive
Aesthetics in the BBC’s Shakespeare for Children163
Katrine K. Wong
10 Queering
Emily Dickinson for the Millennial Age183
Pamela Demory
Part IV Transnational/Transcultural Exchanges 201
11 Tracing
Trans/National/Textual Limits in Jane
Campion’s Top of the Lake: China Girl203
Blythe Worthy
12 The
Dialectic of Transnational Adaptation:
Questioning the Web Adaptation of A Suitable Boy231
Meenakshi Bharat
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Contents ix
13 This
Is Amerika: Dreaming of Kafka in FX’s Atlanta249
Paul Sheehan
14 An
Afterword: Adapting the Television of Television
Studies269
Christine Geraghty
Index279
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Notes on Contributors
Meenakshi Bharat, is a writer, translator, reviewer and cultural theorist
who teaches in the Department of English, Sri Venkateswara College,
University of Delhi. Her special interests include children’s literature,
women’s fiction, film, postcolonial, adaptation, translation and cultural
studies—areas which she has extensively researched. Apart from numerous
articles, she has published critical monographs, The Ultimate Colony: The
Child in Postcolonial Fiction Troubled Testimonies: Terrorism and the
English Novel in India (2016) and Shooting Terror: Terrorism and the
Hindi Film (2020), which take on the impact of colonisation and terrorism on contemporary Indian culture, and two children’s books. She has
edited several critical anthologies and five volumes of Indo-Australian
short fiction. Her wide and variegated writing, both creative and critical,
is spurred by contemporary concerns. She served as President of the
International Federation of Modern Languages and Literatures (FILLM,
UNESCO, 2014–2017). She is on the advisory board of the FILLM
Series, John Benjamins, the Netherlands.
Thomas Britt is Professor of Film and Video Studies at George Mason
University in Fairfax, Virginia, where he oversees the screenwriting concentration and created courses including ethics of film and video and
global horror film. His research interests include death in post-classical
screen storytelling, adaptations of literature, film, television and music,
and horror across media. He has published several articles and chapters
about David Lynch and Twin Peaks, including ‘“Between Two Mysteries”:
xi
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xii
NOTES ON CONTRIBUTORS
Intermediacy in Twin Peaks: The Return’ in Critical Essays on Twin Peaks:
The Return (2019), ‘“On the Way to Perfection”: Red Passages in Twin
Peaks: The Return’ for PopMeC’s special issue on the uses of colour in US
popular culture (2021), and ‘David Lynch’s Desert Frontier’ in David
Lynch and the American West (2023). A writer of short film screenplays,
Britt’s scripts have been selected or awarded by more than 100 film festivals and screenplay competitions globally.
Pamela Demory is Lecturer Emerita at the University of California at
Davis. Her writing and research interests include adaptation studies and
queer cinema. She has published articles and book chapters on Queer
Adaptation, Moonlight, Hedwig and the Angry Inch, Queer as Folk,
Twilight, Pride and Prejudice, Wise Blood and Apocalypse Now. She is on
the editorial board of The Journal of Popular Culture and Adaptation, and
she has edited two volumes of critical essays: Queer Love in Film and
Television (with Christopher Pullen, 2013) and Queer/Adaptation (2019).
Her projects include love and adaptation, Tony Kushner’s Angels in
America, filmed biopics of nineteenth-century women writers and artists,
and nature writing.
Debra Dudek is Coordinator of the English Programme and a cofounder of the Love Studies Research Network at Edith Cowan University
in Perth, Australia. She has published extensively on visual and verbal texts
for young people, including television, film, graphic novels and picture
books, and she teaches a course on adaptation. Much of her research
focuses on how texts for young people communicate ethics and social
justice issues. She is the author of The Beloved Does Not Bite: Moral
Vampires and the Humans Who Love Them (Routledge, 2017) and a co-­
editor of Contemporary Love Studies in the Arts and Humanities: What’s
Love Got to Do with It? (Palgrave, 2023).
Christine Geraghty is Honorary Research Fellow in Film and Television
Studies at the University of Glasgow. She has a long-standing interest in
fiction and form and initially specialised in soap opera, publishing in the
first edited collection on a British soap in Coronation Street (BFI, 1981)
and a monograph, Women and Soap Opera (Polity), in 1991. In the early
2000s, she turned to adaptations, publishing Now a Major Motion Picture:
Film Adaptations of Literature and Drama (Rowman & Littlefield) in
2008. Her television work includes books on My Beautiful Laundrette and
Bleak House and an article on the BBC’s Tender Is the Night. She has
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NOTES ON CONTRIBUTORS
xiii
recently researched the issue of diverse casting in film and television with
an article on colour-blind casting in period drama in Adaptation in 2021.
She is on the advisory boards of several journals, including Critical Studies
in Television where she is book reviews editor.
Paul Giles is Professor of English at the Institute for Humanities and
Social Sciences at the Australian Catholic University, Melbourne. He is
also Honorary Professor of English at the University of Sydney and a
Supernumerary Fellow at Linacre College, Oxford. He is the author of
eleven monographs and numerous essays on English, American and
Australian literature and culture. Published books include American
Catholic Arts and Fictions: Culture, Ideology, Aesthetics (Cambridge UP,
1992), Virtual Americas: Transnational Fictions and the Transatlantic
Imaginary (Duke UP, 2002), Atlantic Republic: The American Tradition
in English Literature (Oxford UP, 2006), Antipodean America: Australasia
and the Constitution of US Literature (Oxford UP, 2013) and The
Planetary Clock: Antipodean Time and Spherical Postmodern Fictions
(Oxford UP, 2021). He is completing a trilogy of books on representations of time in Western culture.
Heebon Park-Finch is Professor of Modern British and American Drama
in the Department of English Language and Literature at Chungbuk
National University, South Korea, and is on the editorial board of the
journal Adaptation. Her PhD in Drama is from Bristol University (UK)
and her research interests include mental health on stage and screen, gender politics and adaptation studies. She has co-­translated Julie Sanders’s
Adaptation and Appropriation (2016) in Korean (2019) and has published in domestic and international journals, including Adaptation,
English Studies and Journal of Contemporary Drama in English. She is
working on a Korea-Germany R&D Network Programme on transcultural adaptation and appropriation, funded by the National Research
Foundation of Korea.
Paul Sheehan is Associate Professor of Literature at Macquarie University,
Sydney, and the author of Modernism and the Aesthetics of Violence
(Cambridge University Press, 2013). He is also co-editor of ‘The Literary
Image’ (2021), a special issue of Textual Practice, and has published articles and book chapters on the HBO television series True Detective and
Deadwood, on Don DeLillo and cinema, and on the films of Michael Haneke.
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xiv
NOTES ON CONTRIBUTORS
Rodney Taveira is Senior Lecturer in American Studies at the United
States Studies Centre at the University of Sydney. His research on American
fiction, television, art and cinema has appeared in The Journal of Popular
Culture, Cultural Studies Review and Comparative American Studies and
in edited collections. He writes popular pieces on American society and
culture, and he has been interviewed on national television and radio. His
current monograph, ‘The Cinematic Face of American Literature,’ argues
that new critical perceptions on violence, sexuality and the way writing
makes meaning are observed in contemporary American fiction when it is
read through the lens of visual culture. He directs the American Studies
programme at the University of Sydney.
Ryan Twomey is the Discipline Chair of Literature at Macquarie
University in Sydney, Australia. An active member of the Literature and
Cinema Network at the University of Sydney, he has published numerous
articles and book chapters on the intersection between literature and television in series such as Watchmen, House of Cards, Fargo, Stranger Things,
Mad Men and True Detective. Twomey’s latest monograph Curated
Realism: Examining Authenticity in ‘The Wire’ was published with
Palgrave Macmillan in 2020.
Shannon Wells-Lassagne (Université de Bourgogne) has worked extensively on film and television adaptations. She is the author of Television
and Serial Adaptation and the editor of Adapting Margaret Atwood
(Palgrave) and Adapting Endings, as well as of special issues of The Journal
of Screenwriting, Interfaces, TV/Series, Screen and Series.
Katrine K. Wong PhD, PFHEA, is Associate Professor of English
Literature at the University of Macau, where she also works as the Director
of the Centre for Teaching and Learning Enhancement. Her work on
music and theatre includes Music and Gender in English Renaissance
Drama (Routledge, 2013), book chapters in The Oxford Handbook of
Shakespeare and Music (2022) and various journal articles. She also writes
on Macao Studies, research of which has appeared in Pacific Affairs. She
is editor of and contributor to both Eastern and Western Synergies and
Imaginations: Texts and Histories (Brill, 2020) and Macao—Cultural
Interaction and Literary Representations (Routledge, 2014). She is the
commissioned editor of Catholic Music in Macao in the Twentieth Century:
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Notes on Contributors xv
Music Writers and Their Works in a Unique Historical Context (Instituto
Cultural de Macau, 2015).
Wong is a classically trained pianist and operatic soprano. She is conductor of Coro Perosi of Macao.
Blythe Worthy is an adjunct academic at the University of Sydney and
Managing Editor of the Australasian Journal of American Studies. Worthy
has published on television and film with Edinburgh University Press,
University of California Press and Springer. Worthy’s work focuses on
transnational and transitional elements in screen media, with special attention to the television work of Jane Campion.
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List of Figures
Fig. 2.1
Fig. 2.2
Basil Fawlty (John Cleese) talking with his guest doctors in
Fawlty Towers, Series Two, Episode Two: “The Psychiatrist,”
1979. Directed by Bob Spiers
Fawlty Towers, opening sequences, Series Two, Episode
Eleven: “The Anniversary,” 1979. Directed by Bob Spiers
Figs. 7.1
and 7.2Advertising from Lupin (Netflix, 2021) and Lupin Part 2
(Netflix, 2021), showing the protagonist as an avid reader of
literature, and a Parisian Batman: mixing literary and popular
culture, French and American influences
Fig. 9.1
Shakespeare: The Animated Tales, episode 6, “Twelfth Night,”
02:00, directed by Mariya Muat and Dave Edwards, aired
December 14, 1992, on BBC2
Fig. 9.2
Shakespeare: The Animated Tales, episode 6, “Twelfth Night,”
05:09, directed by Mariya Muat and Dave Edwards, aired
December 14, 1992, on BBC2
Fig. 13.1 Aaron (Tyriq Withers) stands before his three interlocutors
in Atlanta, Season 3, Episode 9: “Rich Wigga, Poor Wigga,”
2022. Directed by Donald Glover
Fig. 13.2 Earn (Donald Glover) steps through the ‘D’Angelo door’
in the hope of meeting the singer in Atlanta Season 4,
Episode 3: “Born 2 Die,” 2022. Directed by Adamma Ebo
32
33
132
173
174
258
260
xvii
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CHAPTER 1
Introduction: Genesis of the Tele-Text
Blythe Worthy and Paul Sheehan
In our current infatuation with networked culture, the principle of connection is more prized than ever. We are reminded of its importance in our
roles as researchers, particularly via the transdisciplinary practices that are
now commonplace across the humanities. But within the current media
ecology, these affordances have also precipitated certain complications.
For a field of enquiry to be taken seriously, for it to be grasped on its own
terms, a degree of definitional precision is mandatory—a sense that it is
both singular and heterogeneous, and not beholden to more established
disciplines. So it is with adaptation studies and television studies, as contemporary scholars separate their subject-areas from such traditional,
‘legitimate’ fields of knowledge as literary studies, film studies and media
studies. It is also the case that these ‘mother’ disciplines have, at various
B. Worthy (*)
The University of Sydney, Sydney, NSW, Australia
e-mail: blythe.worthy@sydney.edu.au
P. Sheehan (*)
Macquarie University, Sydney, NSW, Australia
e-mail: paul.sheehan@mq.edu.au
1
B. Worthy, P. Sheehan (eds.), Adapting Television and Literature,
Palgrave Studies in Adaptation and Visual Culture,
https://doi.org/10.1007/978-3-031-50832-5_1
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2
B. WORTHY AND P. SHEEHAN
points, threatened to subsume both television studies and adaptation
studies. Though they might use literary-television adaptations as objects
of analysis, and even apply novel methodologies to study them, these
broader areas of enquiry tend not to see adaptation as a productive field,
output or process, in and of itself.
Adapting Television and Literature seeks to intervene in these matters
and find new ways of addressing them. It recognises the overriding importance of specificity and demarcation, alongside the simple fact that television adaptations figure more and more within television studies. In
highlighting the influence of literary poetics and conventions on television, this collection follows the tenets and measures that Thomas Leitch
has termed ‘Adaptation 3.0.’1 This future-facing orientation seeks to complicate and clarify the field, rather than settle or resolve its key issues. 3.0
is simultaneously employed alongside Betty Kaklamanidou’s conception
of ‘Adaptation 4.0,’ drawing on past scholarship to navigate an expanding
scope of enquiry.2 In keeping with Leitch’s dicta, Adapting Television and
Literature reconceptualizes textual interpretation, whilst honing the televisual categories and literary conventions enfolded within adaptation studies. On the one hand, then, it constitutes a reclamation, of the singular
qualities that define (or differentiate) television and literature; on the
other, it is also a dispersion, in that it attempts to map the complicated and
varied relationships between the two.
Television/History, and ‘Adaptation 4.0’
Since the 1974 publication of Raymond Williams’ Television: Technology
and Cultural Form, television studies has successfully established itself
within the humanities. A brief survey of its key proponents would include
those early defenders of television as a cultural art-form with unique, distinct aesthetics: Colin MacCabe, Stuart Hall, Horace Newcomb and John
Ellis, as well as Amanda D. Lotz, with her analyses of the television industry and media discourse; Charlotte Brunsdon and Lynn Spigel, who trace
its influences across American and British society and feminist thought;
and Christine Geraghty and Jonathan Bignell, with their respective study
of television’s conventions and aesthetics in a diverse range of generic,
disciplinary and cultural contexts. Others, such as Jason Mittell and Jane
Feuer, have expanded televisual narratology beyond formal codes to
include poetics and historicity. Legitimacy only arrived, then, after the
work of these and other critical thinkers secured and vitalised a space that
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1
INTRODUCTION: GENESIS OF THE TELE-TEXT
3
transformed television from a branch of mass media into an art-form with
its own generic imprints—prototypes that are now, it would seem, being
endlessly remade, restyled and spun off. This dedicated analysis, in turn,
gave rise to a diverse, hard-won field taught within host disciplines by
scholars who use television-specific concepts and theoretical frameworks.3
As with television, so with adaptation: a struggle to find legitimacy and
acceptance, whether as artistic process, critical reflection, or cultural product. Although most timelines begin with George Bluestone and his Novels
into Film (1957), the field has a much deeper history and wider cultural
horizon. Indeed, as Kamilla Elliott has shown, adaptation is a centuriesold practice that only acquired respectability in the 1990s, when scholars
began systematically to adopt its terminology—a critical lexicon otherwise
neglected or overlooked, due to the many different names assigned to the
movement of stories across art-forms.4 Recurring parochialisms such as
fidelity, originality and repetition continue to plague adaptation studies, as
its objects of analysis suffer the slings and arrows of being, as Linda
Hutcheon terms it, “belated and therefore derivative.”5 But this state of
affairs is already evolving into something more positive, as more inclusive
studies of various television and literary forms and their textual exchanges
emerge, along with what we are calling “tele-texts.”
Since 2015, as Kaklamanidou argues, “Adaptation 4.0” expanded via
several monographs published in Palgrave Macmillan’s Studies in
Adaptation and Visual Culture series (now up to its 32nd title).6
Kaklamanidou emphasises the importance of theorising adaptation studies
history, whilst continuing to establish television scholarship within
“branches of adaptation studies”—including, among other recent developments, new media configurative processes, audiences and markets.7
Building on the work of such scholars as Sarah Cardwell, Kamilla Elliott,
Thomas Leitch and Linda Hutcheon, Kaklamanidou also highlights the
importance of specificity in the theory and terminology of screen adaptation discourse, emphasising the articulation of the transformation of
adapted objects of study, even to the point where they might distort existing disciplinary boundaries.8 While by no means exhaustive, Adapting
Television and Literature aims to continue the work of articulation. This
strategy, in turn, means encouraging scholars to see through the aura of
denigration and consider both fields as fertile areas for expansive, creative
thinking, potentially to test the limits of adaptation, literature and
television.
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4
B. WORTHY AND P. SHEEHAN
Julie Grossman, in her provocatively titled Literature, Film, and Their
Hideous Progeny (2015) confronts the potentially ‘monstrous’ nature of
turning literary properties into cinematic artefacts. Addressing the sheer
multiplicity of adaptations in the new(ish) millennium, Grossman coins
the term elasTEXTtity, to denote “texts as extended beyond themselves,”
in which sources and adaptations are “part of a vastly stretched tarp or
canvas.”9 In Grossman’s view, this expanded tissue of adaptation as process, product and art-form can be threatening to existent stories, or what
she refers to as “home” texts.10 In the post-broadcast age, however, these
kinds of texts often make the most successful adaptations,11 and television—easier, cheaper and faster to make than film—has taken up adapting
or continuing existing stories by the hundred-fold each year. The streaming provider Netflix, for example, now catalogues “TV Shows Based on
Books” as a discrete microgenre.
These malformations (to continue Grossman’s analogy) have provided
ample opportunity for innovative scholarship. It is here that the hybrid
creature of the tele-text resides: extended, overlapping, unified, intersecting and intermedial, a mosaic born from cultural and textual connections
that threatens the categorical stringency of “literature” and “television.”
For the present collection of essays, then, a topic as circumscribed and
specific as “television adaptations of literature” requires an acknowledgment that this subject-area is also profuse and monstrously expansive,
threatening those “home” texts with the “vastly stretched … canvas” of
the screen—a television screen, to be precise.12
Television/Literature: Tracing Connective Tissue
In global streaming production, ‘transition’ has become the norm. Genre-­
hybrids, converging technologies, reboots and intermedial connections
entice new (and active) subscribers, who fund direct-to-consumer, streaming video platforms. This model stretches both the adaptive “canvas” and
the traditional consumer economy, setting both askew.13 As Christopher
Hogg notes, television is “currently in a phase of notable transformation … from its production processes, to its very form and content, to its
routes of dissemination to viewers,” alongside many of television’s paratexts.14 Of these paratexts, literary sources regularly provide (on OTT
platforms) the most popular series. As it happens, in the week of writing,
adaptations made up all but three of the top ten streamed series in terms
of minutes watched per episode, according to Nielsen’s American
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1
INTRODUCTION: GENESIS OF THE TELE-TEXT
5
Insights.15 Moreover, five of these shows are literary adaptations that draw
on a vast range of references, including historical and popular fiction,
nursery rhymes, young adult fiction and comics.16
As different shows appear and series progress, new television canons
develop; in Julie Sanders’ view, the “ongoing expansion” of valued literary
texts is in fact enabled by adaptations.17 Behind canon-formation lies the
architecture of the post-network streamscape—battered by delays, following the shutdowns of the COVID-19 pandemic; but also accelerated as a
result of the indoor-oriented, time-rich lifestyles that came to many (but
not all) along with social distancing.18 This “increased traction” has consolidated a phenomenon that Yvonne Griggs, in 2018, astutely identified
as “pre-­loved stories … [on] a TV medium that is acutely aware of the
financial advantages of harnessing an existing fan-base.”19 Accordingly, the
worlds of technological convergence and intermediality expand the formal
interstices in which television and its literary-inflected texts meet into new
and revamped genres. Pertinent histories within literature can thus be
used in combination with new ways of thinking to examine, with a critical
eye, these multifarious and wildly popular fusions, changes and evolutions.
In terms of the present collection, the foregrounding of television has
its appeal for scholars of the field; at the same time, though, those same
scholars might be dismayed by the presence of “the dead hand of literature, taxonomies and evaluation,” as Leitch has termed it. Leitch saw the
“based-on-the-literary-text model for adaptation studies” as a powerful
orthodoxy that had to be eliminated with a “silver bullet”—a panacea that
the author acknowledged, not without some regret, was unavailable.20 By
way of counter-argument, we contend that to neuter the dominance of
literature, further examinations of the elasTEXTity of literature and television must be conducted, the better to define the limits of each—without,
we hasten to add, limiting what is and is not considered “adaptation”
and/or “literature.”21
Adapting Television and Literature posits that the generic “connective
tissue” of the arts—the shared thread that affiliates different forms—must
be foregrounded to avoid unnecessarily medium-specific or hierarchical
conceptions of overlapping media. This paradigm is not new, nor is the
notion of “connective tissue.” Indeed Mikhail Bakhtin, a theorist who
looms large in adaptation studies, used the term a century ago to situate
the heroic epic within a “unified fabric” of literary tradition.22 Twenty
years later, Bluestone’s influential Novels into Film, in its first sentence,
located literature, television and film within “surface borrowings” and
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6
B. WORTHY AND P. SHEEHAN
“intersecting circles.”23 Bluestone argued for an interstitial mode of
humanities thinking in which definite boundaries converged; a confluence
that would serve to emphasise the “unique properties” and “specific qualities” of each medium.24 Similarly, writing on intertextuality in 1983, Julie
Kristeva argued that literature was embedded within the cultural “general
text” of its context.25 Elaborating on this claim, Sanders describes a “living
mosaic, a dynamic intersection of textual surfaces” where “profusion” is
the “essence and importance” of adaptation.26 In this sense, literary multiplicity, connection and convergence allow for a networked conception of
literature, locatable within Kristeva’s “living mosaic” of textual art.
In harnessing literary/televisual profusions, we follow Deborah
Cartmell’s definition of literature as a flexible umbrella term for media and
written texts, rather than a rigidly defined form of inscription.27 Equally,
we draw from Lynn Spigel’s wide-ranging, Welcome to the Dreamhouse:
Popular Media and Postwar Suburbs (2001), which showcases her eclectic
interest in such media artefacts and material ephemera as “magazines, television shows, fanzines, toys.” Spigel’s reclamation effectively amends the
historical intermediality of television and the varied kinds of objects that
might be considered ‘literary.’28 Indeed, our conception of the tele-text is
defined by this flexibility-within-limits approach to both literary and televisual conventions. Or, as Sarah Cardwell remarks, in a well-cited declaration: “‘Television’ simply refers, as in so many other arts, to a rich and
varied art form which draws upon a wide and expanding range of media.
The ‘medium profile’ of television is multifaceted and mutable.”29
Viewing television as “multifaceted and mutable” determines our
broadening of the purview of Adaptation 4.0, in response to previous
scholarship and the demand for taxonomies. Leitch has argued that this
demand is covertly hierarchical, defining its field “with primary reference
to its closeness to literature.” The present collection, however, seeks to
avoid this pitfall, given that, historically, taxonomies of literature and film
have been successfully articulated into other disciplines to demarcate both
fields further.30 In expanding our vision of “sources” and “adaptations”
into neighbouring disciplines, Adapting Television and Literature stakes
its claim by expanding the scope of analysis and generating productive
debate, however monstrously stretched or distorted it may render the field.
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INTRODUCTION: GENESIS OF THE TELE-TEXT
7
Television/Adaptation: An Incomplete Timeline
From the early 2000s onwards, it has become de rigueur to consider long-­
form television drama alongside the novel. This kind of critical analogy,
however—based as it is on a logic of seriality, texture and depth—has its
precedents. In 1990, for example, Robert Giddings, Keith Selby and Chris
Wensley published Screening the Novel: The Theory and Practice of Literary
Dramatization. The authors use a series of case studies of William
Thackeray’s 1848 novel, Vanity Fair, to investigate contemporary critical
debates about novel, television and film adaptation.31 At the other end of
the decade, Deborah Cartmell and Imelda Whelehan broke free from the
novel to explore a different part of the field. Adaptation: From Text to
Screen, Screen to Text (1999), significantly expanded the pathways of literary relationships—even if this way of thinking has been, at best, only haphazardly applied in adaptation studies since then (only two chapters in the
present collection, for example, deal with screen-to-literature adaptation).
Following a similar structure to Bluestone’s, Sarah Cardwell (Adaptation
Revisited: Television and the Classic Novel, 2002) undertakes an ambitious
survey of the movement of television criticism, theory and context, alongside some judicious case studies. Arguably, the author’s biggest success is
in providing a blueprint for adapted heritage drama—further legitimating
television as an object of study via such influential formulations as the
“meta-text.”32 In analysing serial narratives (based on novels) within a
televisual context, Cardwell expanded the medium’s “affective sphere
beyond its programs.” This meant, in practice, evaluating television’s cultural prestige alongside its commercial interests, as they become legible in
textual forms.33 Similarly, the work of Christine Geraghty on television
drama, both popular and ‘quality,’ demonstrates what can be yielded using
precise adaptive, televisual and social frameworks. Geraghty’s concept of
adaptation as textual “layering”—thin, gauzy, semi-transparent; or more
opaque and self-assertive—has proved fruitful,34 as has her assessment of
the function and style of the television and media studies disciplines themselves, in recent years.35
Cardwell’s creative terminology is elaborated further by Sanders, in
Adaptation and Appropriation (2005). This work sets forth a series of
mini-case studies, based around what Sanders calls a more “kinetic vocabulary … [for] composition and creativity.”36 By examining television portrayals of the Sherlock Holmes figure, Sanders identifies the “increased
cinematic and textual migration of texts”37 that are notably incomplete, or
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8
B. WORTHY AND P. SHEEHAN
(in her words) “rooted in fragmentation.”38 A similar disposition can be
found in Grossman’s Literature, Film and Their Hideous Progeny (mentioned above), especially in the final chapter. Its generous classification of
adaptive forms is applied here to the long-running, animated television
series, The Simpsons (Fox, 1989–), from its own spoof adaptations to the
2012 play that it inspired. Taken together, Sanders and Grossman anticipate the fluid conceptual and transmedial elements that imbue the present
collection with a keen awareness of contemporary televisual poetics.
In a more niche-based fashion, Max Sexton and Malcolm Cook’s
Adapting Science Fiction to Television: Small Screen, Expanded Universe
(2015) tackles the uneven cultural hierarchies that still enshroud form and
genre. They note the low regard in which both television and science fiction have traditionally been held, and question the persistence of “particular generic characteristics” in ur-texts and their adaptations.39 Enquiries
conducted in this study have been crucial for the diachronic expansionism
that inheres in “Adaptation 4.0.” On the heels of Adapting Science Fiction
comes Amanda Klein and R. Barton Palmer’s collection, Cycles, Sequels,
Spin-Offs, Remakes and Reboots (2016), which also considers the ramifications of generic tradition. Citing examples from deep within the field, the
editors fix on multiplicities as a way of describing “television series that
beget television series” and, more broadly, “media texts that are recycled,
duplicated and repeated.” The concept of multiplicities, they argue, highlights the “transgeneric groupings” that pervade screen culture and link
together all forms of visual media.40
In 2017, Shannon Wells-Lassagne (Television and Serial Adaptation)
undertook a wide-ranging analysis of the intricacies of serial narratives and
long-form television adaptations. As a response to Sanders’ insistence on a
“creative” adaptation studies vocabulary, Wells-Lassagne challenges existing definitions of adaptation—arguing, with persuasive logic, that any
definition ought to be commensurate with the expanding form of television itself. As well as disavowing those literary shibboleths of ‘originality’
and ‘interpretive fidelity,’ she coins her own new terms (“transfiction,”
“microadaptation”),41 advancing Cardwell’s context-based approach to
television adaptation.42 By focusing on processes and products, Wells-­
Lassagne makes a compelling case for televisual style, form and technology
as shaping influences on adaptation no less consequential than source-­
texts themselves.
The serial narrative is, of course, one of the mainstays of television programming. In Adaptable TV: Rewiring the Text (2018), Yvonne Griggs
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INTRODUCTION: GENESIS OF THE TELE-TEXT
9
looks at this paradigm through the lens of recycled, re-processed stories
on television, extracted from (amongst other literary sources) serialised
penny dreadful comics and novels.43 Avoiding fidelity debates, Griggs
seeks instead to reconfigure the inheritances of authorship in television,
building on the productive similarities between adaptation and television
studies noted by Cardwell and Wells-Lassagne. She argues that television’s
transformations—citing, for example, the “increasingly foregrounded role
of the showrunner”—clearly indicate an adaptation of scholarship born
from the often romanticised, solo author of literature, channelling a range
of issues into a single, astute provocation.44 This decentring of the source
text, along with the rise of TV auteurs, has progressed beyond the novel-­
film fixation of adaptation studies, reconfiguring such core concepts as
Gérard Genette’s formulations of hypertextuality and narrative
interrelation.45
Cardwell and Wells-Lassagne, as we have seen, maintain that adaptations be treated as texts, first and foremost. In his 2021 study, Adapting
Television Drama, Christopher Hogg responds to this dictum with a decisive counter-point, structuring his research around interviews with production staff.46 In focusing on the more sociological, behind-the-scenes
aspects of adapted television, Hogg highlights features of poststructuralist
discourse that have been pivotal to adaptation and television studies:
Barthes’ and Derrida’s abatement of authorial jurisdiction, and Foucauldian
enhancements of diversity within subjectivity. Theoretical reflection also
figures extensively in Television Series as Literature (2022), edited by Reto
Winckler and Víctor Huertas-Martín, as they seek to answer a simple, yet
vexing question: what is ‘literary’ about television series in the new millennium? 47 The range of critical instruments that their contributors use to
provide answers—from phenomenology and trauma studies to narratology and ‘sphere theory’—prove that even the most taken-for-granted
enquiry can be a fruitful undertaking and a pathway to knowledge. The
intersection of adaptation studies and television continues to yield surprises, insights and possibilities, as well as new forms of attentiveness.
Chapters, Threads, Claims
Like all young media, Wells-Lassagne points out, television established
itself “by using previous narrative forms to showcase their innovations”—
beginning, in the 1950s, with radio drama.48 Insofar as television sought
to forge its own identity, then, the need for specific, audio-visual content
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10
B. WORTHY AND P. SHEEHAN
was overshadowed by the economic and technological imperatives of the
medium. When it comes to genre we have, in a sense, inherited a similar
conundrum: although an integral part of scholarship surrounding most
texts, genre is often regarded as a kind of afterthought—a given, an elemental part, but treated with indifference—despite the emergence of evernew genres across OTT platforms. The four parts that make up Adapting
Television and Literature address this discrepancy, organised via emerging
micro-adaptations or fresh perspectives on existing genres. Each part
works through the intricacies and literary correlations of a particular genre:
caustic comedy, outlaw auteurism, young adult reinvention and transcultural exchanges.
The first part, “Comic Noir,” issues challenges to the drama-centric
tendencies of contemporary scripted-television scholarship and media-­
based criticism. If the popular genre of television comedy was once dominated by sitcoms and sketch shows, that pre-eminence has been tempered
by an alternative, more abrasive and discomforting tradition: shows that
are acerbic yet nuanced, misanthropic but also oddly relatable. The works
under discussion here draw on an eclectic range of literary and para-­literary
sources, from stand-up comedy and self-help books to confrontational
theatre. In the introductory chapter, Paul Giles considers the deeper history of the television medium through those literary stalwarts, genre,
auteur and canon. He takes as his case study the classic BBC comedy,
Fawlty Towers (1975–1979), and finds in it the roots of the mordant, ‘alt-­
comedy’ television tradition. Treating the show as almost a “meta-sitcom,”
in which the social and psychological contradictions of the genre are
brought to the surface, Giles reads the black farce that results as both
tragic and comic, and the show’s creator, John Cleese, as a multi-tasking
“television auteur,” albeit one who abjures the usual traits of autonomy
and blanket oversight.
In the next chapter, Heebon Park-Finch confronts the knotty problematics of stage-to-screen adaptation—a particularly fraught subject
when the work in question makes ample use of taboo material. Park-Finch
applies this line of enquiry to the BBC Three/Amazon ‘crisis comedy,’
Fleabag (2016–2019), written and performed by Phoebe Waller-Bridge.
Initially an 80-minute, one-woman show, its expansion into a twelve-­
episode, two-series comedy-drama, argues Park-Finch, depended on the
smoothing-over or excision of its more abject, provocative elements. She
suggests that Waller-Bridge’s direct address, sexual neediness and unflinching candour outline a poetics of intimacy, inviting voyeuristic gratification,
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INTRODUCTION: GENESIS OF THE TELE-TEXT
11
on the hand, but also allowing for the ruses of (audience) manipulation,
on the other. The third chapter in this part, by Rodney Taveira, shares
some common ground with its two predecessors. Taveira’s incisive discussion of the audacious FX show, Lady Dynamite (2016–2017), demonstrates that what is tacit or implicit in Fawlty Towers—its exposure of
generic sitcom conventions—becomes more overt and (formally) distinct
in the later comedy. Taveira sees the show’s troubled protagonist, Maria
Bamford, as deconstructing the genre via self-help rhetoric and stand-up
comedy, exploited to counteract the side-effects of her Bipolar II disorder
and hypomania. Gesturing to Park-Finch’s chapter, Taveira also contrasts
Lady Dynamite with the dysfunctional leanings of Fleabag, as well as the
social precarity of Roseanne (ABC, 1988–1997, 2018), ‘situation tragedies’ that feature unruly women with fragile mental, emotional and/or
bodily conditions.
In the second part, “Criminals, Outlaws, Auteurs,” heterodox television dramas of the last decade are used to explore the creative resources of
adaptation. If the prestige of the auteur has wilted in recent years, a result
of all-too-evident gender-bias and ethical accountability, the question of
authorship is still open to debate. This debate is nowhere more apparent
than in the collaborator-dependent medium of television, where creative
control is harder to assert and (from a critical perspective) to identify. This
part considers why would-be auteurs are drawn to lawbreakers of various
kinds—murderers and thieves, in the first instance, but also vigilantes and
(‘consulting’) detectives. In the first of these enquiries, Thomas Britt looks
at recent ‘neo-noir’ television dramas by veteran cineastes David Lynch
(Showtime’s Twin Peaks: The Return, 2017) and Nicolas Refn Winding
(Amazon’s Too Old to Die Young, 2019). Both shows have ‘book-like’
scripts or premises, but where Lynch adapts and reshapes elements from
his original Twin Peaks series (ABC, 1990–1991), Winding goes even further: he adapts and adopts Lynchian filmmaking cues and borrows freely
from both Twin Peaks series, old and new. For Britt, the two works exhibit
an auteur-oriented belief in freedom and commitment, with radically different outcomes.
Given the ongoing influx of reboots, remakes, crossovers and remixes,
the age of auteurship might seem more passé than ever. Continuing the
second part, Ryan Twomey argues that Damon Lindelof’s Watchmen
mini-series (HBO, 2019)—a sequel without a source-text, a metatextual
elaboration of the original graphic novel—resembles a politically inflected
crime drama more than a superhero saga. But unlike, say, Zack Snyder’s
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B. WORTHY AND P. SHEEHAN
film version of Watchmen (2009), which was more transposition than
trans-medial refit, the HBO Watchmen (in Twomey’s view) is a true adaptation, renewing and revivifying the original mythos with its innovations
and reinscriptions. By way of contrast, and a hundred years before the
Watchmen ur-text, a different kind of crimefighter entered the culture.
Sherlock Holmes inhabits a prestigious niche within the adaptation industry, having spawned literary rivals as well as multi-medial reworkings,
which Shannon Wells-Lassagne outlines in the next chapter. Focusing on
the BBC series, Sherlock (2010–2017), the author puts Holmes alongside
his French counterpart, the so-called ‘gentleman thief,’ Arsène Lupin
(Netflix’s Lupin, 2021–). Both figures, in Wells-Lassagne’s purview, are
derived from ‘culture-texts,’ in that they illuminate an essential part of
television’s appeal: the devotional rituals of fandom, which not only
empower the viewer (or reader) but also provide relief from auteurist
intrusions.
Some of the most adventurous literary-oriented television in recent
years has been made for young adults and/or children. Part Three explores
this oft-overlooked demographic through popular culture (graphic fiction), the literary canon (Shakespeare’s plays), and bio-historical license
(Emily Dickinson’s life and work). If ‘fitting in’ is crucial to young adult
development, then so too is adaptation and change. In her chapter, Debra
Dudek tethers this YA rite of passage to queer self-discovery, as dramatised
in the Netflix show, Heartstopper (2022–). Dudek orients her discussion
around emotional ‘enchantment’: a state of openness and surprise for the
viewer, and a visceral response (shaded with fear) for the character(s).
Considering Heartstopper’s origins as a graphic novel series (2019–),
Dudek probes the connection between knowledge and narrative pleasure,
and makes the provocative claim that one’s awareness of a source-text can
be a ‘curse,’ when it arrests or impedes the gratifications of discovery and
surprise.
Part Three continues with a subtle excursus. Insofar as ‘queerness’ has
come more broadly to mean challenging norms and exploring irregularities, Katrine Wong’s chapter on the BBC’s animated series of Shakespeare
for children (Shakespeare: The Animated Tales, 1994; Shakespeare in Shorts,
2018) sheds a manifestly queer light. By tracking the dynamic interplay
between verbal discourse (the Shakespearean stock-in-trade) and visual
exposition (the requirements of the televisual medium), Wong highlights
the ways in which animation defies the laws of physics. Insofar as both
series allow us to ‘hear with our eyes’ and ‘see with our ears,’ in Wong’s
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INTRODUCTION: GENESIS OF THE TELE-TEXT
13
phraseology, animated Shakespeare queers our standard sensorial responses
to the Bard’s words and the adaptor’s images. Pamela Demory’s chapter,
concluding Part Three, takes the very process of adaptation as itself a
queer (strange, odd, transformative) undertaking. Examining Apple TV’s
Dickinson (2019–2021), Demory argues that the poet’s directive to herself, to tell the truth slant, might also accord with the headier urge to tell
it queer—something hinted at in Dickinson scholarship since the 1990s.
The show’s generic reversals, temporal dislocations and carefully crafted
anachronisms, observes Demory, convey to us the sheer intensity of Emily
Dickinson’s creative and domestic life more effectively than a straightforward biopic ever could.
Streaming technology has made televisual artefacts more mobile and
accessible than ever, across a wide variety of devices (flatscreen, laptop,
iPad, smartphone). But in addition to the global dissemination of works
beyond national borders, Part Four (“Transnational/Transcultural
Exchanges”) considers the presence within specific works of cross-regional
influences and allusions. More than just the creation of new works that
traverse media or art forms, then, adaptation is now tied closely to incorporation, to the inter-articulation of different cultural and tribal elements—whether ethnic, folkloric, linguistic or fabled—within a work. As
Blythe Worthy sees it, in her chapter on the Sundance/BBC Two/Hulu
show, Top of the Lake: China Girl (2017), many such elements contribute
to this production’s transcultural, ‘Nordic noir’ ambience. Worthy suggests that there is an ‘adaptation network’ operating here, a matrix of
sources from Australian literary periodicals, Thai oral histories, and Russian
fiction and manifesto (via Dostoevsky), which enhance the series’ novelistic tenor. In Worthy’s view, the show recognises the place and considers
the future of Thai-Australians, not just in the national context of debates
about immigration and decolonisation, but also within the wider field of
global television.
Continuing Part Four, Meenakshi Bharat addresses the problematics of
transcultural integration in her analysis of A Suitable Boy (2020), the
BBC’s controversial adaptation of Vikram Seth’s 1993 novel. Seth’s epic
arrived on a wave of hype and marketing boosterism, now transferred onto
the web series. Bharat opines that, although it is the first BBC mini-series
to feature an all-South Asian cast, a great deal—perhaps too much—has
been lost in translation. For Bharat, the production’s shortcomings are
most evident in its treatment of history (focusing on the chaos of democratic elections, rather than the Partition), its sexual stereotyping
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B. WORTHY AND P. SHEEHAN
(unwarranted homoerotic frissons) and its linguistic compromises (mainly
English dialogue, with Hindi and Urdu insertions). Part Four ends with
Paul Sheehan’s reading of the FX show, Atlanta (2016–2022), as a transnational artefact. It achieves this, in Sheehan’s view, by seeming to conduct an uncanny, almost dream-like colloquy with certain writings by
Franz Kafka—in particular, his transnational, ethnically diverse novel,
Amerika (1927). Although Kafka’s name is never mentioned, inside or
outside the show, Sheehan considers Atlanta to be an intertextual reworking of the writer’s concerns about race, the law and the agonies of frustration—a radically inventive, ‘Afro-Kafkan’ hybrid, no less.
What we have been calling the tele-text is a hybrid, multiform artefact,
expansive yet also inclusive. It is born from transition and exchange, hence
actively relational, and a challenge to any strict separation of ‘television’
and ‘literature.’ In theorising the tele-text, this collection aims to identify
intersections, convergences and distinctions across the field of adaptation,
from the realistic perspective of flexibility within limits. In doing so, we
seek to illuminate the complex entanglements that develop between literary texts and television adaptations, and foster dialogues that address textual interconnectivity. Such concerns, we argue, are vital for the work of
envisaging and plotting the future of television adaptation, and its continuous unfolding into new and unexpected processes and products. In
expanding knowledge around television adaptations in this interdisciplinary way, our collection can be used to invigorate new methods of scholarly
engagement. Adapting Television and Literature is designed for anyone
interested in debates concerning contemporary television and literary
authorship, textual identity, and adaptation theory. We hope that it will be
consulted, most of all, by adaptation scholars, in their quests to define,
contest and enlarge this growing area of the field.
Notes
1. Thomas Leitch, “Introduction,” The Oxford Handbook of Adaptation
Studies, ed. Thomas Leitch (Oxford: Oxford University Press, 2017), 1–22.
2. Betty Kaklamanidou, “Introduction” New Approaches to Contemporary
Adaptation, eds. Betty Kaklamanidou, Thomas Leitch, Eurydice Da Silva,
Christina Wilkins, Simon Brown, Stacey Abbott, Thomas Britt, Nicole
Pizarro, and Karin Boklund-Lagopoulou (Detroit: Wayne State University
Press, 2020).
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INTRODUCTION: GENESIS OF THE TELE-TEXT
15
3. See, for example, pioneering studies by Elana Levine and Michael
Z. Newman on television legitimation, Glen Creeber on small screen aesthetics, Sue Turnbull on crime drama, and Sasha Torres on civil rights on
television.
4. Kamilla Elliott, Theorizing Adaptation (New York: Oxford University
Press, 2020).
5. Linda Hutcheon and Siobhan O’Flynn A Theory of Adaptation, 2nd ed.
(New York: Routledge, 2013), xv.
6. Kaklamanidou, “Introduction,” 6.
7. Kaklamanidou, 6.
8. In the introduction to Theorizing Adaptation, Elliott has an exhaustive
discussion of the exponential growth of the field of adaptation.
9. Julie Grossman, “Introduction,” Literature, Film, and Their Hideous
Progeny Adaptation and ElasTEXTity. 1st ed. (London: Palgrave Macmillan
UK, 2015), 2.
10. Grossman, “Introduction,” 11.
11. Yvonne Griggs, Adaptable TV: Rewiring the Text (Cham: Springer
International Publishing, 2018), 2.
12. Grossman, 2.
13. Many viewers interact directly with series creators online, or create fan sites
to share their work, which can even transfer into televised content. See, for
example, Rahma Sugihartati, “Youth Fans of Global Popular Culture:
Between Prosumer and Free Digital Laboure,” Journal of Consumer
Culture 20, no. 3 (2020): 305–23. https://doi.org/10.1177/
1469540517736522
14. Christopher Hogg, Adapting Television Drama: Theory and Industry
(London: Palgrave Macmillan, 2021). 18.
15. “Top 10: Discover what Americans are watching and playing, Week of May
1–7” Neilson Insights Blog, https://www.nielsen.com/top-­ten/.
Accessed June 5, 2023.
16. As these programs are rebooted, more texts will then be used in the adaptation process, including continuations of the previous seasons. Griggs has
argued that as seasons and paratextual discourses unfold, more literary references are needed in abundance as well. Griggs, Adaptable TV. 2.
17. Julie Sanders, Adaptation and Appropriation, 2nd edition, (Abingdon:
Routledge, Taylor & Francis Group, 2016), 12.
18. And the shutdown of cinema theatres. “Coronavirus Shutdown Will Delay
60% Of U.S. & Global Drama As Scripted Hangover Set To Extend Well
In 2021, Data Shows,” Deadline Hollywood. May 19, 2020. https://deadl i n e . c o m / 2 0 2 0 / 0 5 / c o v i d -­1 9 -­s h u t d o w n -­d e l a y -­i n t e r n a t i o n a l -­
drama-­1202938005/. Retrieved May 25, 2020.
19. Griggs, Adaptable TV, 5.
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B. WORTHY AND P. SHEEHAN
20. Leitch, “Adaptation at the Crossroads,” 65.
21. This directive, as it happens, is also drawn from Leitch. Ten years ago,
Leitch pondered whether practitioners defined adaptation itself from the
centre or the edges, proposing several methods for scholars to analyse these
processes via end products. The present study follows Leitch’s third objective—to let the field flourish when we avoid definition—and “let a thousand flowers bloom.” Leitch, ‘Adaptation and Intertextuality or, What
isn’t an Adaptation and What Does it Matter?’ A Companion to Literature,
Film, and Adaptation, 1st Edition, ed. Deborah Cartmell, (Hoboken:
Blackwell Publishing Ltd., 2012).
22. Mikhail Mikhaı ̆lovich Bakhtin and Michael Holquist, The Dialogic
Imagination: Four Essays (Austin: University of Texas Press, 1981), 18. In
Theorizing Adaptation, Elliott has a comprehensive discussion of the connective tissues of the arts as well.
23. Bluestone’s conception of adaptation as a product and not a process,
among other aspects of his study, has been challenged and revised over
time. See: Brian McFarlane, Novel to Film: An Introduction to the Theory of
Adaptation (Oxford: Oxford University Press, 1996) and George
Bluestone, “Preface,” Novels into Film, (Los Angeles: University of
California Press, 1971, originally published 1957, Baltimore, The John
Hopkins Press). VII.
24. Bluestone, Novels into Film, VIII.
25. Julia Kristeva, Desire in Language: a Semiotic Approach to Literature and
Art (New York: Columbia University Press, 1980).
26. Sanders, Adaptation and Appropriation, 3.
27. Cartmell, “Introduction,” 3.
28. Considering the separation of private and public spheres and high and low
art, Spigel questions “the ideological distinctions among the arts, crafts,
and mass culture,” analysing a wide range of objects and media to “scandalize these divisions.” Lynn Spigel, Welcome to the Dreamhouse: Popular
Media and Postwar Suburbs, (Durham: Duke University Press, 2001), 13.
29. Sarah Cardwell, “Television Amongst Friends: Medium, Art, Media,”
Critical Studies in Television 9, no. 3 (2014): 14. https://doi.
org/10.7227/CST.9.3.2
30. Leitch, “Adaptation Studies at the Crossroads,” 64.
31. Robert Giddings, Keith Selby and Chris Wensley. Screening the Novel The
Theory and Practice of Literary Dramatization (London: Palgrave
Macmillan UK, 1990).
32. Sarah Cardwell, Adaptation Revisited: Television and the Classic Novel.
(Manchester: Manchester University Press, 2002), 14; see for example
Cardwell’s consideration of the prominence of classic novels due to advertising and generic identities in Sarah Cardwell, “Literature on the Small
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INTRODUCTION: GENESIS OF THE TELE-TEXT
17
Screen: Television Adaptations,” The Cambridge Companion to Literature
on Screen, eds. Deborah Cartmell and Imelda Whelehan (Cambridge:
Cambridge University Press, 2007), 181–96.
33. Cardwell, Adaptation Revisited, 156.
34. Christine Geraghty, Now a Major Motion Picture: Film Adaptations of
Literature and Drama (Lanham: Rowman & Littlefield, 2008), 192.
35. See: Christine Geraghty, Women and Soap Opera: a Study of Prime Time
Soaps (Cambridge, UK: Polity Press, 1991); Christine Geraghty, “What Is
the ‘Television’ of the European Journal of Cultural Studies? Reflections
on 20 Years of the Study of Television in the Journal,” European Journal of
Cultural Studies 20, no. 6 (2017): 627–36. https://doi.
org/10.1177/1367549417733004
36. Sanders, Adaptation and Appropriation, 50.
37. Sanders, 211.
38. Sanders, 51.
39. Max Sexton and Malcolm Cook, Adapting Science Fiction to Television:
Small Screen, Expanded Universe (Science Fiction Television), (Lanham:
The Rowman & Littlefield Publishing Group, 2015). 11.
40. Cycles, Sequels, Spin-Offs, Remakes, and Reboots: Multiplicities in Film and
Television, edited by Amanda Ann Klein and R. Barton Palmer, (Austin:
University of Texas Press, 2016), 14.
41. Shannon Wells-Lassagne, Television and Serial Adaptation (New York:
Routledge, 2017), 8.
42. Wells-Lassagne, Television and Serial Adaptation, 8.
43. Griggs, Adaptable TV, 4. There has been further research on the penny
dreadful in popular media, see: Julie Grossman, and Will Scheibel, Penny
Dreadful and Adaptation: Reanimating and Transforming the Monster,
(Cham: Springer International Publishing AG, 2023).
44. Griggs, 8
45. Gerard Genette, Palimpsests: Literature in the Second Degree (Nebraska:
University of Nebraska Press, 1997).
46. Christopher Hogg, Adapting Television Drama: Theory and Industry
(London: Palgrave Macmillan, 2021), 10–11.
47. “Introduction: Considering Television Series as Literature,” eds. Reto
Winckler and Víctor Huertas-Martín, (Singapore: Springer, 2022), 1.
48. Wells-Lassagne, 3.
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PART I
Comic Noir
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