Adapting Television and Literature
He is the author of two monographs, Modernism, Narrative, and Humanism (2002) and Modernism and the Aesthetics of Violence (2013), both with Cambridge UP. His work on film / television and literary studies includes book chapters on The Matrix Trilogy, HBO’s Deadwood, and Michael Haneke; as well as j...
| Other Authors: | , |
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| Format: | eBook |
| Language: | English |
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Cham
Palgrave Macmillan
2024, 2024
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| Edition: | 1st ed. 2024 |
| Series: | Palgrave Studies in Adaptation and Visual Culture
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| Subjects: | |
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| Collection: | Springer eBooks 2005- - Collection details see MPG.ReNa |
Table of Contents:
- Paul Sheehan and Blythe Worthy, “Introduction”
- Part 1: Making Comedy Central
- Paul Giles, “The Aesthetics of Television: Genre, Auteur, Canon”
- Paul Sheehan, “Difficult Laughter: Modernist Aesthetics in Better Things and Atlanta”
- Part 2: Criminals, Outlaws, Auteurs
- Shannon Wells-Lassagne, “Entente Cordiale: Sherlock (BBC) and Lupin (Netflix), a Tale of Two Fandoms”
- Thomas Britt, “What Is Television? Two Auteur Series in Literary Contexts”
- Ryan Twomey, “Remixing the Law: Timely and Untimely Politics in Lindelof’s Watchmen ”
- Part 3: Adaptive Disruption: Young Adult and Children’s Television
- Debra Dudek, “Ambiguous Endings and Disrupted Paratexts in The End of the F***ing World and I Am Not Okay With This”
- Sabina Rahman, “From Medieval Legend to Modern Superheroics: Arrow as a 21st-Century Robin Hood”
- Katrine Kwong, “(Re)animating Shakespeare: Screen Theatre, on Television and Online” Pamela Demory, “Queering Emily Dickinson for the Millennial Age”
- Part 4: Transnational Dramas, Transcultural Contexts Blythe Worthy, “The Suburban Serial: tracing textual and community limits in Jane Campion’s Top of the Lake”
- Susan Lever, “Witnessing: Indigenous Life Experience on Television”
- Meenakshi Bharat, “The Dialectic of Transnational Adaptation: The Problematic Web Adaptation of A Suitable Boy” Trisha Dunleavy, “Complex Teenage Passion: Normal People and the Affordances of Cultural Specificity”
- Afterword: Christine Geraghty