Final published version
Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter
Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter
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TY - CHAP
T1 - The theory of BADaptation
AU - Elliott, Kamilla
PY - 2018/4/11
Y1 - 2018/4/11
N2 - BA Daptation-a term coined by J. Kraus (2012: 258) and developed by Constantine Verevis (Verevis 2014: 216)-is a resonant portmanteau in adaptation studies. In 2010, Deborah Cartmell and Imelda Whelehan subtitled a book Impure Cinema “to call attention to the bad press that adaptations have received since the beginning of film’s history” (Cartmell and Whelehan 2010: 127). The rhetoric of BADaptation precedes cinema: describing an 1838 stage play of Oliver Twist, Charles Dickens the Younger decrees it the worst in “the very long list of bad adaptations of popular stories” (Dickens 1892: xxvii); decades earlier, a periodical reviewer addresses “the bad adaptation of hymns to tunes” (anon 1856: 98) and a letter to The Players, a nineteenth-century penny British theatrical journal, declares: “that our stage should become the receptacle for bad adaptations of immoral French buffoonery, we feel a national degradation” (anon. 1860: 2). While Verevis defines "?‘BADaptation’ [as] a concept employed to engage with and challenge those approaches to adaptation and remaking that routinely employ a rhetoric of betrayal and degradation, of ‘infidelity’ to some idealized original” (Verevis 2014: 216), these examples make clear that adaptations have been dubbed bad (as well as many synonyms for bad) for violating moral and national ideologies as well as theories of ideal originals.
AB - BA Daptation-a term coined by J. Kraus (2012: 258) and developed by Constantine Verevis (Verevis 2014: 216)-is a resonant portmanteau in adaptation studies. In 2010, Deborah Cartmell and Imelda Whelehan subtitled a book Impure Cinema “to call attention to the bad press that adaptations have received since the beginning of film’s history” (Cartmell and Whelehan 2010: 127). The rhetoric of BADaptation precedes cinema: describing an 1838 stage play of Oliver Twist, Charles Dickens the Younger decrees it the worst in “the very long list of bad adaptations of popular stories” (Dickens 1892: xxvii); decades earlier, a periodical reviewer addresses “the bad adaptation of hymns to tunes” (anon 1856: 98) and a letter to The Players, a nineteenth-century penny British theatrical journal, declares: “that our stage should become the receptacle for bad adaptations of immoral French buffoonery, we feel a national degradation” (anon. 1860: 2). While Verevis defines "?‘BADaptation’ [as] a concept employed to engage with and challenge those approaches to adaptation and remaking that routinely employ a rhetoric of betrayal and degradation, of ‘infidelity’ to some idealized original” (Verevis 2014: 216), these examples make clear that adaptations have been dubbed bad (as well as many synonyms for bad) for violating moral and national ideologies as well as theories of ideal originals.
U2 - 10.4324/9781315690254
DO - 10.4324/9781315690254
M3 - Chapter
AN - SCOPUS:85049962233
SN - 9781138915404
T3 - Routledge Companions
SP - 18
EP - 27
BT - The Routledge Companion to Adaptation
A2 - Cutchins, Dennis
A2 - Krebs, Katja
A2 - Voigts, Eckart
PB - Routledge
CY - London
ER -