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Adapting for a Revolution: Media Ada...

Hook, James Robert.

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Adapting for a Revolution: Media Adaptation Practices and the Sexual Revolution.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Adapting for a Revolution: Media Adaptation Practices and the Sexual Revolution./
Author:	Hook, James Robert.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	357 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
Subject:	Film studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28321345
ISBN:	9798597069975

Adapting for a Revolution: Media Adaptation Practices and the Sexual Revolution.
Hook, James Robert.

Adapting for a Revolution: Media Adaptation Practices and the Sexual Revolution. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 357 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--Indiana University, 2021.

This item must not be sold to any third party vendors.

This dissertation examines major trends in the creative interplay and exchange between cinema, literature, and theatre from the 1950s through the 1970s, as pertaining to evolving norms, understandings, and representations of sexuality. This project grows out of Eric Schaefer's recent call to recover the importance of media production to what we call the sexual revolution. Through its specific focus on the adaptation process, this dissertation also participates in the current revitalization of adaptation studies that-in pushing the field beyond traditional, textually-based book-to-film comparisons-has generated interest in the economic, institutional, and legal systems under which adaptations come to exist in the first place. To fully concretize the workings of such systems, I argue it is necessary to examine constellations of adaptations bound by their shared existence in a specific time and place and engaged in complimentary-if oftentimes contradictory-cultural work. To illustrate this, this project brings together and analyzes adaptations that emerged across a range of production sites (e.g., Hollywood, European cinemas, independent film communities, off-Broadway) and were animated by the complicated logics of the sexual revolution and its constituents (e.g., second wave feminism, gay liberation). In doing so, this dissertation challenges the idea that adaptation only ever poaches the existing stories and ideas of others rather than being artistically generative in its own right. In centering the question "What has adaptation been used to do-artistically, socially, and culturally?" it reveals the degree to which artistic production that embodied a sexual revolutionary ethos was awash with instances of reiteration, transformation, and recontextualization. In this way, adaptation compels us to reject the binary logic that seeks to position "old" and "new" in a mutually exclusive relationship, and offers the corrective that new ideas can be productively articulated in old frames and old ideas compellingly reactivated in new ones.

ISBN: 9798597069975Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Media adaptation

Adapting for a Revolution: Media Adaptation Practices and the Sexual Revolution.
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520 $a This dissertation examines major trends in the creative interplay and exchange between cinema, literature, and theatre from the 1950s through the 1970s, as pertaining to evolving norms, understandings, and representations of sexuality. This project grows out of Eric Schaefer's recent call to recover the importance of media production to what we call the sexual revolution. Through its specific focus on the adaptation process, this dissertation also participates in the current revitalization of adaptation studies that-in pushing the field beyond traditional, textually-based book-to-film comparisons-has generated interest in the economic, institutional, and legal systems under which adaptations come to exist in the first place. To fully concretize the workings of such systems, I argue it is necessary to examine constellations of adaptations bound by their shared existence in a specific time and place and engaged in complimentary-if oftentimes contradictory-cultural work. To illustrate this, this project brings together and analyzes adaptations that emerged across a range of production sites (e.g., Hollywood, European cinemas, independent film communities, off-Broadway) and were animated by the complicated logics of the sexual revolution and its constituents (e.g., second wave feminism, gay liberation). In doing so, this dissertation challenges the idea that adaptation only ever poaches the existing stories and ideas of others rather than being artistically generative in its own right. In centering the question "What has adaptation been used to do-artistically, socially, and culturally?" it reveals the degree to which artistic production that embodied a sexual revolutionary ethos was awash with instances of reiteration, transformation, and recontextualization. In this way, adaptation compels us to reject the binary logic that seeks to position "old" and "new" in a mutually exclusive relationship, and offers the corrective that new ideas can be productively articulated in old frames and old ideas compellingly reactivated in new ones.
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