Introduction: Film adaptation in the post-cinematic era

Abstract

In recent years, adaptation studies has emerged as a field of urgent scholarly importance and, having moved past outdated presuppositions and prejudices, has revealed adaptation as a crucial form of dialogue between and among different media, texts and social–historical contexts. The proliferation of new technologies and new media, theorized as the digital post-cinematic era, but encompassing more than what Costas Constandinides calls the ‘post-­celluloid’ (2010: 3), has arguably deepened this importance, implicating adaptation in previously unconsidered cultural arenas. In their common emphasis upon post-millennial cinema, all four articles in this dossier are based in the recognition that it is no longer possible to conceive of filmic adaptation as a straightforward movement from page to screen; that therefore we must turn our attention to the role new media technologies play in processes of dialogic mediation and identity formation, in the production (and elision) of inter-subjective and cultural difference, in the shaping of cultural memory, and in the very question of defining cinema in the early twenty-first century.

Uncovering Cinematic Adaptations of James Joyce’s The Dead

“…Thus, Mills and Long have completely crossed out the concept of fidelity since it does not fit into postmodernism. According to Kilbourn and Faubert (2014), adaptation studies recently has appeared as a field of critical scholarly significance and, having moved past old-fashioned assumptions and prejudices, has revealed adaptation as a ultimate form of dialogue among different mediums, texts, and social-historical contexts.…”