http://adaptation.oxfordjournals.org Adaptation - RSS feed of current issue 1755-0645 2008 Adaptation 1755-0637 http://adaptation.oxfordjournals.org/cgi/content/short/1/1/1?rss=1 2008-03-01 info:doi/10.1093/adaptation/apn015 Oxford University Press 1 1 4 2008-03-01 1 Introduction http://adaptation.oxfordjournals.org/cgi/content/short/1/1/5?rss=1 Since the 1950s, adaptation studies has almost invariably adopted a methodology of comparative textual analysis. This has obscured an alternative method for analysing adaptations derived from sociology and political economy disciplines. Such an alternative approach focuses not upon individual texts but upon the adaptation industry as a whole: the institutional, commercial and legal machinery through which book-screen adaptations move on their way from author to audience. This article adopts such a political economic methodology to analyse the ill-fated 2005 film adaptation of Australian author Murray Bail's prize-winning novel Eucalyptus (1998). The scuppering of the Eucalyptus film project in acrimonious circumstances just days before shooting was due to commence throws light upon complex issues of how to cultivate national culture in an adaptation industry based around globalized English-language flows. Moreover, the fact that there is no film for adaptation scholars to compare with Bail's novel directs overdue critical attention to the mechanics of the adaptation industry itself and the factors which facilitate or—in this case—stymie the production of book-to-screen adaptations.

]]> 2008-03-01 info:doi/10.1093/adaptation/apm002 Oxford University Press 1 1 23 2008-03-01 5 Original Articles http://adaptation.oxfordjournals.org/cgi/content/short/1/1/24?rss=1 Gothic, film, and parody are all erstwhile devalued aesthetic forms recuperated by various late twentieth-century humanities theories, serving in return as proof-texts for these theories in their battles against formalism, high-art humanism, and right-wing politics. Gothic film parodies parody these theories as well as Gothic fiction and films. As they redouble Gothic doubles, refake Gothic fakeries, and critique Gothic criticism, they go beyond simple mockery to reveal inconsistencies, incongruities, and problems in Gothic criticism: boundaries that it has been unwilling or unable to blur; binary oppositions it has refused to deconstruct, like those between left- and right-wing politics; and points at which a radical, innovative, subversive discourse manifests as its own hegemonic, dogmatic, and clichéd double, as in critical manipulations of Gothic (dis)belief. The discussion engages Gothic film parodies spanning a range of decades (from the 1930s to the 2000s) and genres (from feature films to cartoons to pornographic parodies).

]]> 2008-03-01 info:doi/10.1093/adaptation/apm003 Oxford University Press 1 1 43 2008-03-01 24 Original Articles http://adaptation.oxfordjournals.org/cgi/content/short/1/1/44?rss=1 This article identifies common features of a neglected formula, the team film, in which the films invariably overtake the sourcetexts as the dominant form. Surveying adaptations, such as The Great Escape, The Italian Job, The Professionals and The First Great Train Robbery, the article demonstrates how in the team film, particular textual elements are consistently used, re-used and modified in a fashion akin to genre.

]]> 2008-03-01 info:doi/10.1093/adaptation/apn014 Oxford University Press 1 1 57 2008-03-01 44 Original Articles http://adaptation.oxfordjournals.org/cgi/content/short/1/1/58?rss=1 2008-03-01 info:doi/10.1093/adaptation/apm004 Oxford University Press 1 1 62 2008-03-01 58 Film Review http://adaptation.oxfordjournals.org/cgi/content/short/1/1/63?rss=1 2008-03-01 info:doi/10.1093/adaptation/apm005 Oxford University Press 1 1 77 2008-03-01 63 Review Article