Millicent Marcus, whose Filmmaking by the Book: Italian Cinema and Literary Adaptation (1993) reframed conversations on filmic adaptation, has shaped generations of students and researchers through her scholarly practice of adapting art and life. In this article, three of her students explain the impact and influence of her teaching and research, a feminist legacy grounded in an ethics of collaboration. This history frames the presentation of the six subsequent articles, developed after a symposium in Marcus’ honour and included in this special issue.
This article examines and contextualizes the socio-economic model and values system from which the transmedial, transnational text that we call the Winx Project derives and in which it is produced. The Winx Project centres on an animated television series for girls
and tweens, Winx Club, produced in Italy and distributed in 150 countries worldwide, but includes spin-off television formats, films, live and interactive entertainments, an amusement park and merchandising and fashion to compose a multifaceted, multiple 'text'. This plural text is employed
to measure the functionality of the Winx Club within a global and transnationalized discourse of neo-liberal economics on the one hand and, on the other, a local context that reaches deep into the regional character of Social Catholicism to purvey on a global scale its ethics and values system.
In this written interview, Millicent Marcus responds to the editors’ questions about her trajectory as a scholar and teacher. After a brief preface, in which she inventively describes the written interview as a genre per se, Marcus’s answers to our questions contextualize her view of contemporary Italian film, her scholarly background, and her ethical approach to cinema. In this work of self-reflection, she untangles the central elements of her vision: adaptation, feminism, intersections between research and teaching and collaboration in the academy.
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