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2024 | OriginalPaper | Buchkapitel

1. Introduction

verfasst von : Annie Nissen

Erschienen in: Authors and Adaptation

Verlag: Springer Nature Switzerland

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Abstract

This first chapter outlines the historical and interdisciplinary scope, specific content, arguments, and aims of Authors and Adaptation: Writing Across Media in the Nineteenth and Early Twentieth Centuries, a transhistorical, transmedial study addressing living writers’ engagements with adaptations of their own writing across different media. In the process, it addresses intermedial relationships between prose fiction, theatre, and film, adaptation practices, and writing across media in this period more generally, in dialogue with contemporaneous theoretical discourses as well as more recent studies. Arguing for the value of wider historical and interdisciplinary study, it sets authors, texts, media, and adaptation practices in dialogue within and across centuries and media forms and conventions. Setting the groundwork for subsequent chapters, the introduction also provides a rationale for the choice of authors, methodology, historical range, media forms, industries, and disciplines.

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Nächstes Kapitel Copyright Law, Authorial Ownership, and Adaptation Between Novels and Plays in Nineteenth-Century Britain

See Chap. 6.

Radio adaptation constitutes an often neglected and forgotten area within adaptation studies. Richard J. Hand laments that it has been “eclipsed by the inventions that sandwich it—cinema and television,” arguing for its importance to adaptation studies (2017, 340).

Championing their need to be reassessed, Weedon discusses writers who were novelists and/or playwrights: Clemence Dane, GB Stern, Hugh Walpole, and A.E.W. Mason.

Laird focuses on Charlotte Brontë’s Jane Eyre (1847), Charles Dickens’ David Copperfield (1849–50), and Wilkie Collins’ The Woman in White (1859–60). Both Dickens’ and Collins’ engagement with adaptations of their work are also addressed within my own study, see Chaps. 2 and 3.

This recognition of interart exchange can also be seen, for example, in the decision to change the Nineteenth Century Theatre journal to the Nineteenth Century Theatre and Film journal in 2002 (see Weltman 2015; Mayer 2002). Michael Ingham (2017) provides a wider historical overview of the intermediality between theatre and film. Other interart exchange between prose fiction and early film have also been discussed: for example, relations between illustrated novels and intertitled silent films (see Elliott 2003, 16–19) and between modernist writers and early cinema (Marcus 2007; Shail 2012); Christine Gledhill (2003) addresses the interchange between film, theatre, literature, and visual culture to illuminate the storytelling techniques of British cinema between 1918 and 1928.

See, for example, Stephen Price (2010, 2013); Kevin Alexander Boon (2008); Jill Nelmes (2011); Steven Maras (2009); Andrew Horton and Julian Hoxter, eds. (2014). Further attention has been given to screenwriters and screenwriting in view of British film history too: see Ian W. Macdonald (2010, 2011, 2014) for studies on the silent era; see Jill Nelmes (2014) from 1930s onward.

Simone Murray appoints the screenwriter as the figure who most closely links the literary and filmic spheres, and the screenplay as a fundamental textual link between novel and screened film, rather than as ‘forgotten intertext’ (2012, 133; 153).

One of the earliest to propose these ideas was Sergei Eisenstein, discussed in Chap. 6.

See Chaps. 5 and 6.

Alexis Weedon includes a chapter on Clemence Dane and Hugh Walpole’s collaboration on a radio serial in her recent study (2021, 175–196).

The formal and regulatory challenges for writers, both prose fiction and dramatic, in the period under discussion have been widely discussed in other studies that have informed my own (see, for example, Stephens 1992; Waller 2006; Salmon 2013).

It needs to be noted that this boundary can also be flawed, with many writers identifying themselves via a different nationality to their birth or via multiple nationalities. My study addresses the difficulties this poses for copyright in the case of British born Frances Hodgson Burnett, who migrated to America, see Chap. 2.

The growing dominance of American cinema in this period inevitably influenced not only British film, but also impacted British literary authors and film writing, see Chap. 4. Regrettably, the need to include American film practices has resulted in only limited attention paid to the early British film industry development. However, other studies have provided a more exclusive history of the British film industry, particularly in view of its early development, for example, Ernest Betts (1973), and Charles Allen Oakley (1964), as well as Bill Baillieu and John Goodchild (2002). For a longer history, see Sarah Street (2009).

See Chaps. 2 and 6 for further discussion.

For example, J.M. Barrie, most celebrated as a playwright, also wrote prose fiction; concomitantly, Thomas Hardy, known foremost as a novelist, and secondarily as a poet, also wrote a play.

Addressed in Chaps. 2 and 3.

Doyle even documented the process of this “unfortunate venture” and relayed how Barrie afterward wrote a short parody entitled, “The Adventure of the Two Collaborators,” which Doyle includes in his autobiography (2012, 102–5).

See Chaps. 5 and 6.

Many of these have been preserved in edited collections by Bernard F. Dukore (1980, 1997), and have been a valuable resource for this study since the primary sources have not always been accessible.

Often primary material such as letters are preserved within biographies, but not published elsewhere.

See Chap. 3’s discussion of Dickens and Chap. 5’s study of J.M. Barrie.

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Titel: Introduction
verfasst von: Annie Nissen
Verlag: Springer Nature Switzerland
Buch: Authors and Adaptation
Print ISBN: 978-3-031-46821-6

Electronic ISBN: 978-3-031-46822-3

Copyright-Jahr: 2024
DOI: https://doi.org/10.1007/978-3-031-46822-3_1