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    Rights statement: This article has been accepted for publication in Adaptation. Published by Oxford University Press.

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Adaptation as compendium: Tim Burton’s Alice in Wonderland

Research output: Contribution to Journal/MagazineBook/Film/Article reviewpeer-review

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Adaptation as compendium: Tim Burton’s Alice in Wonderland. / Elliott, Kamilla.
In: Adaptation, Vol. 3, No. 2, 09.2010, p. 193-201.

Research output: Contribution to Journal/MagazineBook/Film/Article reviewpeer-review

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Elliott K. Adaptation as compendium: Tim Burton’s Alice in Wonderland. Adaptation. 2010 Sept;3(2):193-201. doi: 10.1093/adaptation/apq009

Author

Elliott, Kamilla. / Adaptation as compendium : Tim Burton’s Alice in Wonderland. In: Adaptation. 2010 ; Vol. 3, No. 2. pp. 193-201.

Bibtex

@article{f0c78abc6ad24713a5a4a0f16c1ca69a,
title = "Adaptation as compendium: Tim Burton{\textquoteright}s Alice in Wonderland",
abstract = "Most reviewers decree Tim Burton's Alice in Wonderland {\textquoteleft}disappointinger and disappointinger{\textquoteright}, both as a literary adaptation and as a film, largely because the film adapts so many things besides Carroll's books, rendering it digressive and derivative. The script, which expresses anxieties about being {\textquoteleft}the wrong Alice{\textquoteright}, figures the adaptation/sequel as a compendium (a brief treatment of a subject). Compendium's second sense, inventory, points more centrally to the film as pastiche. Since literary film adaptations are increasingly constructed as deliberate pastiches of other cultural productions, I argue that it is time to ask new questions of these processes rather than view them solely as failing the books and copying rather than creating. The review ends with a discussion of how CGI (computer-generated imagery) and 3D displace Carroll's nonsense as superior sense with fantasy as alternative reality and how the film's colonial ending reflects Disney's own, very real capitalist enterprises in China.",
author = "Kamilla Elliott",
note = "This article has been accepted for publication in Adaptation. Published by Oxford University Press.",
year = "2010",
month = sep,
doi = "10.1093/adaptation/apq009",
language = "English",
volume = "3",
pages = "193--201",
journal = "Adaptation",
issn = "1755-0637",
publisher = "Oxford University Press",
number = "2",

}

RIS

TY - JOUR

T1 - Adaptation as compendium

T2 - Tim Burton’s Alice in Wonderland

AU - Elliott, Kamilla

N1 - This article has been accepted for publication in Adaptation. Published by Oxford University Press.

PY - 2010/9

Y1 - 2010/9

N2 - Most reviewers decree Tim Burton's Alice in Wonderland ‘disappointinger and disappointinger’, both as a literary adaptation and as a film, largely because the film adapts so many things besides Carroll's books, rendering it digressive and derivative. The script, which expresses anxieties about being ‘the wrong Alice’, figures the adaptation/sequel as a compendium (a brief treatment of a subject). Compendium's second sense, inventory, points more centrally to the film as pastiche. Since literary film adaptations are increasingly constructed as deliberate pastiches of other cultural productions, I argue that it is time to ask new questions of these processes rather than view them solely as failing the books and copying rather than creating. The review ends with a discussion of how CGI (computer-generated imagery) and 3D displace Carroll's nonsense as superior sense with fantasy as alternative reality and how the film's colonial ending reflects Disney's own, very real capitalist enterprises in China.

AB - Most reviewers decree Tim Burton's Alice in Wonderland ‘disappointinger and disappointinger’, both as a literary adaptation and as a film, largely because the film adapts so many things besides Carroll's books, rendering it digressive and derivative. The script, which expresses anxieties about being ‘the wrong Alice’, figures the adaptation/sequel as a compendium (a brief treatment of a subject). Compendium's second sense, inventory, points more centrally to the film as pastiche. Since literary film adaptations are increasingly constructed as deliberate pastiches of other cultural productions, I argue that it is time to ask new questions of these processes rather than view them solely as failing the books and copying rather than creating. The review ends with a discussion of how CGI (computer-generated imagery) and 3D displace Carroll's nonsense as superior sense with fantasy as alternative reality and how the film's colonial ending reflects Disney's own, very real capitalist enterprises in China.

U2 - 10.1093/adaptation/apq009

DO - 10.1093/adaptation/apq009

M3 - Book/Film/Article review

VL - 3

SP - 193

EP - 201

JO - Adaptation

JF - Adaptation

SN - 1755-0637

IS - 2

ER -