Milli mála - 01.01.2011, Síða 87

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Tragedy is a rather unusual example, precisely because its his-
tory is long and discontinuous (at least as drama). However, if we
look at some contemporary adaptations, where it is common to see
stories move between forms, the continuous and expansive trans-
mission of single tales does not seem at all surprising. Antigone
replicates, admittedly discontinuously, over two and a half millen-
nia, but no such extensive period of time is needed for tales or their
various constituent elements to replicate transgenerically in today’s
world. In fact, such transmission can take place at the same time or
within relatively short periods. For example, the seemingly infinite
replications of Jane Austen’s novels (as prequels, sequels, conquels,
mashups, graphic comics, Jane as vampire, Jane as detective, etc.
etc.), the vast number of imitations, audio, cinematic adaptations,
iPhone and iPad apps all indicate that Austen is not only big busi-
ness but seemingly inexhaustible. Fandom, too, has exceeded all
expectations. The Harry Potter fandom alone comprises a vast in-
ternational community that operates its web sites, fan fiction, pod-
casts, fan art and songvids. Mode and media convergence, first
outlined by Ithiel de Sola Pool in his Technologies of Freedom and re-
fined and expanded upon by Henry Jenkins in his Convergence
Culture: Where Old and New Media Collide, has now made its way
into adaptation studies.23 Indeed, a call for papers for a special issue
cites Jenkins and his definition of media convergence as a starting
point for potential contributors. Part of that invitation is worth
quoting at length here:
For some time now, Adaptation Studies has been active in exploring
adaptive processes, but we feel that the impact of a global reservoir of images
as well as the need to articulate cultural and aesthetic specificity in a climate of
low-threshold access have yet to make their full impact on this academic
sub-discipline. We would like to bring into narrow focus the various
aesthetic processes and cultural issues at stake in adapting texts in a
climate of media convergence and changing modes of audience involvement and
participation. We specifically seek to address a variety of cross-media
23 Ithiel de Sola Pool, Technologies of Freedom, Boston: Harvard University Press, 1983. Henry Jenkins,
Convergence Culture: Where Old and New Media Collide, New York: New York University Press,
2006.
MARTIN S. REGAL