Titlebook: Expanding Adaptation Networks; From Illustration to Kate Newell Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Literary Ada

一起平行

Conclusion: Like an Open Book,as such, they might seem more receptive to a networked model of adaptation than a new work with comparatively limited adaptation history. To indicate the merit of the network model more fully, I turn to Emma Donoghue’s 2010 novel ., which she adapted to the screen for the 2015 film of the same name,

造反,叛亂

fodlder

emphasizes appreciation over user interaction, whereas the other privileges the reader and posits interactivity as appreciation. I conclude the chapter with a brief look at contemporary digital literary mapping projects and consider their contribution to adaptation and adaptation networks.

放縱

,Der Prozess der Führung von unten, Gunning’s definitions of “cinema of attractions” and “cinema of narrative integration,” I distinguish between spectacle-focused pop-up adaptations, which I call “l(fā)iterature of attractions,” and narrative-focused pop-up adaptations, which I call “pop-up of narrative integration.” I conclude the chap

chisel

小歌劇

,Die Führungskraft als Performance Manager,as such, they might seem more receptive to a networked model of adaptation than a new work with comparatively limited adaptation history. To indicate the merit of the network model more fully, I turn to Emma Donoghue’s 2010 novel ., which she adapted to the screen for the 2015 film of the same name,

Lice692

使痛苦

https://doi.org/10.1057/9781137268938capitalism; culture; energy; ethics; event; logic; Materialism; Orient; politics; religion; understanding; reli

FLIRT