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This paper aims at an interdisciplinary analysis of the various roles of prejudice and discrimination in fantasy. It focuses on the ways the storyworlds of The Witcher and The Lord of the Rings portray racial discrimination. Reading the books of J.R.R. Tolkien and Andrzej Sapkowski through jurisprudential lenses allows us to draw conclusions as to the meaning of the implicit and explicit presentation of discriminatory practices by authors in storyworlds. Remarks on movie and TV series adaptations are included to develop transmedia storytelling analysis. [ABSTRACT FROM AUTHOR]

This qualitative research investigates the role of the 2017 television adaptation of the Chinese novel Bai Lu Yuan in shaping the ethical perspectives of Chinese audiences. The researchers used documentary analysis, in-depth interviews, questionnaires, and observation to gather insights from Chinese university professors, actors, directors, and TV production teams. The findings reveal that the 77-episode television series has influenced the ethical concepts of Chinese audiences in three areas: (1) raising awareness of social issues faced by Chinese women, (2) altering perspectives on gender, and (3) transforming family values. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Popularized by Hulu's television adaptation, the allegories and iconography of The Handmaid's Tale have been used in women's reproductive rights activism around the world. However, at the same time, the series has been recognized and critiqued as offering white, conservative feminism. This article explores how Hulu's adaptation often works to domesticate Margaret Atwood's novel and the series' feminist implications in regard to reproduction and motherhood. While The Handmaid's Tale has become spectacularly visible as a popular feminist television series, its reproductive politics and representations of women, family and motherhood are largely conservative: waging a limited resistance on behalf of neotraditional white Anglo-western mothers. In light of the Supreme Court decision to overturn Roe v. Wade, this article is motivated by the conviction that it is increasingly important to hold sociocultural representations of reproduction and motherhood to account. [ABSTRACT FROM AUTHOR]

The study explores the nature of adaptations made on an experiential product, a TV series, that enters a foreign market, and investigates the perceptions of foreign consumers concerning the adapted experiential product in two parts. The first part content analyses the nature of adaptations based on comparisons of the contents of the original and adapted versions of the TV series, while the second part content analyses consumers' perceptions of the adapted TV series based on their social media entries. The first part reveals three broad categories of adaptations, namely contextual, cultural, and competitive. The second part indicates that the familiarity with the original TV series and the distinct genre were influential on consumers' evaluation of and satisfaction with the adapted TV series. [ABSTRACT FROM AUTHOR]

The paper considers some of the most relevant productive and cultural reasons behind the adaptation of scripted formats in Italian television. According to the principle that locally produced tv series often score better rates than imported/adapted series, the practice of adaptation of foreign scripted formats has been infrequent until the 2000s. From then on, the Italian television scenario radically changed, because of the debut of satellite pay TV in 2003 and of Netflix in 2015, which modified the market of tv series and forced Italian broadcasters (mainly Rai) to cope with the delicate and complex process of adaptation, with alternate results. [ABSTRACT FROM AUTHOR]

The German notion of Heimat is a form of place attachment that is simultaneously shaped by senses of longing and belonging. Heimat not only accommodates the unhomely in the homely, it also blends foreign perspectives with stylized forms of self-exoticization. To the extent that Heimat responds to a desire for rediscovering the (trans)national in the local, the urban in the provincial, the modern in the anti-modern, and so on, it may be described as a delocalized place. This article examines changing national, gendered, and generic transpositions of Alpine imaginaries by analyzing film adaptations of two novels that prefigure and refigure Heimat art respectively: Wilhelmine von Hillern’s Die Geier-Wally (The Vulture Wally), which appeared in 1873 and became the source of many film and TV adaptations, and Thomas Willmann’s Alpine Western Das finstere Tal (The Dark Valley), published in 2010 and adapted to a motion picture by Andreas Prochaska in 2014. [ABSTRACT FROM AUTHOR]

International reconsideration of Mexican film noir is a recent phenomenon. For decades, Mexican film criticism tended to dismiss the importance of this tradition and even to deny its existence, often citing the presence of melodramatic elements in would-be noir films and the lack of a crime novel tradition for screen adaptations. By comparing two Mexican films to similar American productions and examining the local political and economic conditions of the former, this article argues that Mexican film noir had its own pessimistic viewpoints, which were borrowed from journalism and the illustrated press. These viewpoints were based on existing social ailments and delivered relevant criticism of the institutions, classism, and sexual norms of the postrevolutionary Mexican state of the 1940s and 1950s. [ABSTRACT FROM AUTHOR]

This paper explores evolving discourses of masculinity in the Japanese socio-cultural context through a textual analysis of two live-action television adaptations of Great Teacher Onizuka (GTO), a popular manga. Broadcast respectively in 1998, one year after the onset of the Asian Financial Crisis, and 2012, one year after the Fukushima nuclear disaster, the two shows provide a unique opportunity to examine the disruption and/or reconfiguration of hegemonic discourses around gender in their respective historical moments. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Civilization Studies is the property of Kyrgyz-Turkish Manas University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

'Actual Play' is a growing form of play spectatorship which involves the recording and broadcast of tabletop gaming sessions. It has spawned bestselling comics, live shows and television adaptations. Unlike 'Let's Play' videos on YouTube or game livestreaming on platforms like Twitch, there has been little in the way of critical analysis of this new media form. This article therefore aims to understand its audience(s) through qualitative and quantitative content analysis of survey responses from the fan communities of one of the most popular Actual Play shows, The Adventure Zone. We focus on the relationship between Actual Play's attempts at creating more accessible and inclusive media that welcome all types of people and the more exclusionary, highly gendered aspects of the broader gaming community. These enquiries also serve as a case study for Actual Play as a less-examined area of both play spectatorship and gaming content creation, and points towards potential future study in these areas. This article analyses Actual Play podcast The Adventure Zone to highlight the under-explored dynamics of fan audiences in this area of gaming content creation. Topics covered include audience reception of the creators, engagement with issues of diversity and Actual Play as a tabletop roleplaying game gateway. [ABSTRACT FROM AUTHOR]

Popular fiction is often defined as formula fiction as it tends to employ a much more limited repertory of plots, characters, and settings than Literature. Westerns, fantasies, romances, mysteries, science fiction, adventures, etc. must have a certain kind of setting, a particular cast of (stereotypical) characters, and follow a limited number of lines of action because of their close connection to a particular society, culture, and time period. Although appealing to a great number of readers, this limited repertory of (stereotypical) characters, plots, and settings is founded on a canonized discourse, resting on a cultural and social personification--a description, a code, a projection, which legitimizes and authorizes the interpretation of culture and nature, masculinity and femininity, superiority and inferiority, power and subordination, therefore reflecting specific cultures' interests, values, beliefs, and tensions, and implicitly or explicitly providing insights into specific cultures' anxieties and aspirations. The aim of this paper is to examine (1) how the mystery formula in Canadian popular print and TV media constructs the image of Central European immigrant and (2) to what extent the mystery formula in Canadian popular print and TV media relies on stereotypes to create entertainment with rules known to everyone, allowing them to participate in its models of suspense and resolution. The analysis focuses on Maureen Jennings's Detective Murdoch series (Except the Dying (1997), Poor Tom Is Cold (2001), and Vices of My Blood (2006)) and its TV adaptation Murdoch Mysteries (2008-). [ABSTRACT FROM AUTHOR]

The responses in audience letters and in the press to the BBC's 1954 television adaptation of Nineteen Eighty-Four relate it to horror comics and ideas of sadism. This thread can be followed to connect this response to wider concerns with horror comics not just in the United Kingdom but across Europe in the post-World War II period. These concerns related to the fears of American soft power in the post-war world, and the potential effects that soft power would have on national identities. Comics in general, and horror comics in particular, were a useful focus for expressing these fears because of their American origins and because they were considered as products for children, and so as particularly important in forming the future of the culture. The Nineteen Eighty-Four adaptation connected to these fears, and so to the idea of 'horror comics', through its depiction of a depleted United Kingdom serving as a staging post for the forces of a larger power, an image of what some feared was the UK's real post-war status in the world. [ABSTRACT FROM AUTHOR]

This article reports on an interdisciplinary project to produce the first genetic edition of a television adaptation, drawing on the papers of screenwriter Andrew Davies who adapted George Eliot's Middlemarch for the BBC in 1994. Combining methodologies from digital humanities, television history, and archival theory and practice, the digital resource places Xtensible Mark-up Language versions of Eliot's novel and Davies' scripts at the centre of an intertextual framework which enables close cross-referencing. Supported by primary sources derived from thorough production history research, the genetic edition opens up a potentially productive approach to adaptation which foregrounds the creative practice of the screenwriter at the heart of the collaborative process of producing television adaptations of classic novels. Following an outline of the case history, the project and the resource, the article then illustrates some preliminary findings based on new editorial commentary. It concludes that this genetic edition will not only be of interest to Eliot scholars, television historians, and adaptations studies, but might have potential beyond the academy in the development of resources for education and heritage sites. [ABSTRACT FROM AUTHOR]

Copyright of Brazilian Journalism Research is the property of Sur le journalisme, About journalism, Sobre jornalismo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of I.U. Journal of Translation Studies / İstanbul Üniversitesi Çeviribilim Dergisi is the property of I.U. Journal of Translation Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aim: Psychiatry has traditionally been taught bedside. Multiple ethical and logistics issues preclude use of certain patient groups, and in the current COVID-19 pandemic, there is the additional obstacle of not being able to access bedside patients. There is utility in using new media, e.g., television and movies, in psychiatry education. Methods: "Maniac" and "Crazy Ex-Girlfriend", both available on Netflix, were used in an undergraduate psychiatry module to illustrate clinical lessons regarding schizophrenia and borderline personality disorder respectively. Results: "Maniac" was helpful in illustrating subtle changes in affect, occupational and social dysfunction, and showcasing disrupted family dynamics and distress from experiencing hallucinations and delusions. "Crazy Ex-Girlfriend" was instructional in crystallising psychopathology of borderline personality disorder and providing more nuanced, less cross-sectional views of psychiatric illness. Conclusions: Even though television and movies will and should not replace face-to-face bedside teaching as a primary mode of education, they are an adjunct to stimulate discussion and observe psychopathologies that are ethically difficult to capture. Both of them can be used judiciously in the current COVID-19 pandemic as bedside teaching substitutes. [ABSTRACT FROM AUTHOR]

Copyright of Clotho is the property of University of Ljubljana, Faculty of the Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gothic and sexual elements are embedded within both Charles Perrault's and the Brothers Grimm's tellings of "Little Red Riding Hood". When popular culture turned to fairy tales from the late 20th century forward, reimagining them as gothic tales for adults, "Little Red Riding Hood" provided a particularly rich setting. In particular, these adaptations exploited the false binaries within these tales while making more visible the sexual abuse and recovery encoded in the narratives. This essay will first explore the particular gothic qualities within this tale, as well as the shapeshifting nature of the four characters. After establishing how the figure of Red, as well as her motifs, are key to ensemble fairy-tale narratives, I will examine adaptations that directly explore the sexuality and agency of a young woman, as she resists both predators and her family legacy. However, the last section will note that monstrosity, like victimization, can be resisted. Overall, this essay interrogates contemporary film and television adaptations of this tale, with a particular interest in the messages of recovery and agency in these new versions. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Netflix's reboot series Cobra Kai (2018–present) depicts an intergenerational negotiation of masculinities as the men from the original Karate Kid mentor Gen Z students. Reagan-era masculine norms and measures of manhood are tested by the teens as they face twenty-first-century challenges. Static performances of masculinity fail to meet the demands of new situations; thus, the mentors and the teens alike seek flexibility instead of a winner-takes-all approach. [ABSTRACT FROM AUTHOR]

Except for a brief representation of her as a child in The King's Speech (2010), Queen Elizabeth II's life has been adapted to the screen through The Queen (2006) and A Royal Night Out (2015). Moreover, the release of the TV series The Crown has added a new perspective to the ways in which the queen's life has been revised, rewritten, and adapted, although the dynamics of film and of television remain dissimilar. When analyzed in a singular framework, the three movies and the four seasons of the TV series provide an adapted version of the life of Queen Elizabeth II as biopics, providing alternative biographical representations, fictionalized versions of what is believed to be factual material. More significantly, such adaptations of history could be analyzed as simulations, and the historical figures they represent as simulacra. In this framework, this study analyzes Queen Elizabeth II's biopics as adaptations of personal history to claim that all such versions of history are radically adaptive and revisionist in their very nature. The study also argues that, if these biopics are to be accepted as simulations, the fidelity debate would be rendered obsolete. [ABSTRACT FROM AUTHOR]

The article critiques Netflix's television series "The Haunting of Bly Manor" which was adapted from Henry James' novel "The Turn of the Screw." Topics include the undermining of the norms and pleasures of the middle-class life of an American 1980s woman and the charm of a British upper-class family in the series, the collision of past and present in the horror narrative, and comments on the portrayal of body horror such as deformation and abomination in the series.

This article examines adaptation as an industrial strategy in the context of Australian commercial broadcast television. I analyse Kriv Stenders's 2017 mini-series Wake in Fright—based on Kenneth Cook's novel – for Network 10, Australia's third commercial broadcaster. Wake in Fright imitates the features of 'quality' television, and I read the commission, development, and production of the property as a strategic technique to compete in a local industrial landscape that is under rapid (and global) transformation. I examine this production through the 'adaptation industries', a critical approach to adaptation that puts texts in their industrial context. I first historicize the mini-series as a distinct form of Australian television production, then I analyse the formal innovation and style of Wake in Fright and suggest that the mini-series failed to cultivate an audience due to the pressures of commercial television. Although this production may ultimately be (commercially) unsuccessful, this article suggests that it crystalizes anxieties about the future of local content on Australian television in an increasingly globalized marketplace. Approaching Australian television production through the 'adaptation industries' helps understand the importance of identifiably Australian content in the face of increasingly globalized streaming platforms and an internationalized broadcast sector. [ABSTRACT FROM AUTHOR]

This article examines the representations of theatricality and the actor in le Carré's work, using Tinker Tailor Soldier Spy (1974) and The Little Drummer Girl (1983) as case studies. Additionally, it will analyse the importance of the actor and performance in these two novels, and how it relates to the 'real world' practice of espionage at the time. It will also examine how the actor/spy relationship has been addressed in film and television adaptations of le Carré's work, drawing from Tinker Tailor Soldier Spy (2011) and The Little Drummer Girl (2018). [ABSTRACT FROM AUTHOR]

The post-apocalyptic genre has seen a resurgence in 2023 due to HBO's The Last of Us, a television adaptation based on Naughty Dog's video game of the same name, where the society has collapsed due to an infection that causes human bodies to gradually mutate and become violent. There have been debates on whether the infected humans should be called "zombies", as the word was banned on the production set and the creative director of the video game has refused numerous times to use the word when labeling the infected bodies. In this article, I am taking a closer look at the infection presented in the series, its impact on the human body, the mutation and transformation that precedes it, and the question of zombification in relation to an existing and real-world infection, as in the case Cordyceps fungus. Moreso, I will discuss the validity of considering analyzing The Last of Us through the body horror filter, due to the exploration of an infection that happens in stages, and the different anatomical and aesthetical changes it provokes to the human body. [ABSTRACT FROM AUTHOR]