tag:blogger.com,1999:blog-10611988.post113334946826137168..comments2023-12-08T00:54:27.168+11:00Comments on Sorrow at Sills Bend: Schnitzel on Roseslucy tartanhttp://www.blogger.com/profile/09244574932248425378noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-10611988.post-1133500973289842702005-12-02T16:22:00.000+11:002005-12-02T16:22:00.000+11:00Here's Sherry Levine (with a little help from her ...Here's Sherry Levine (with a little help from her friends):<BR/><BR/>The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash. A picture is a tissue of quotations drawn from the innumerable centres of culture. Similarlucy tartanhttps://www.blogger.com/profile/09244574932248425378noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133496714493200682005-12-02T15:11:00.000+11:002005-12-02T15:11:00.000+11:00On the one hand, from a film-as- business perspect...On the one hand, from a film-as- business perspective I think adaptations of existing successful cultural works are a way of minimising the risk of failure in an enormously expensive business. Executives and indeed anyone are, if not clueless about what stories will give them a return on their investment, then at the very least not able to predict with certainty what will prevent a loss on any Kirstyhttps://www.blogger.com/profile/14035268080440921379noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133482018163978932005-12-02T11:06:00.000+11:002005-12-02T11:06:00.000+11:00A quick PS -- I don't know what the exact equivale...A quick PS -- I don't know what the exact equivalent is of 'reader response' in film theory, but the Peter Carey example above was to do with audience recognition of material being re-worked -- I'm wondering where intepretation fits into this whole business of (re)appropriation and reworking. I'm sure most people who read the Carey wouldn't have picked up the Frankenstein refs (but they're Kerryn Goldsworthyhttps://www.blogger.com/profile/11270814460793882309noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133476178326510982005-12-02T09:29:00.000+11:002005-12-02T09:29:00.000+11:00Wow, thank you, Galaxy, Barista, and Pavlov. Out ...Wow, thank you, Galaxy, Barista, and Pavlov. Out of the riches you've provided I'll just pick one to be going on with for the present - the knotting of threads adaptation, capitalism, and readerly responsiveness. I wonder what you people reading here might think of this idea: adaptation, understood as reworking an already finished product, is an important part of the culture industry's lucy tartanhttps://www.blogger.com/profile/09244574932248425378noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133441163081456062005-12-01T23:46:00.000+11:002005-12-01T23:46:00.000+11:00Apropos issues of ent guilt and Coke logo memory: ...Apropos issues of ent guilt and Coke logo memory: your use of the word 'promethean' (I'm not sure in how specialist a sense you were using it) made me think of Peter Carey's novel My Life as a Fake, which is a sort of fictionalised re-telling of the Ern Malley hoax, which in its turn is a wonderful example of radical reworking: McAuley and Stewart wrote the 'poems' using whole phrases and lines Kerryn Goldsworthyhttps://www.blogger.com/profile/11270814460793882309noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133430502653235792005-12-01T20:48:00.000+11:002005-12-01T20:48:00.000+11:00I am out of my depth here, but that never stops me...I am out of my depth here, but that never stops me. <BR/><BR/>On the most superficial level, adaptation is enabled by capitalism in the sense that a mythical entity "IP" is transferred by contract, along with some "rights" which are actually just rules which the parties agree to obey. Typically these rules enable some kind of consultation with the original author, in return for which s/he shuts Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133421270882672062005-12-01T18:14:00.000+11:002005-12-01T18:14:00.000+11:00Is adaptation 'completely antithetical to corporat...Is adaptation 'completely antithetical to corporate & capitalistic moneymaking'? My first thought when I read this was about the 'blockbuster' concept, where adaptations of existing cultural products are made into films precisely because they can exploit an already established audience (think Harry Potter, Lord of the Rings) and therefore make a great deal of money. In this instance adaptation Kirstyhttps://www.blogger.com/profile/14035268080440921379noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133420528701920882005-12-01T18:02:00.000+11:002005-12-01T18:02:00.000+11:00Hmmm. I'm a literature person, not a cinema studie...Hmmm. I'm a literature person, not a cinema studies person, so it's hard for me to tell because I simply haven't done the reading. And of course if one is of a literary bent, then one almost ignores the director and looks for the screenplay credit in any case ... :-)<BR/><BR/>If by 'less mythical' you mean 'more accurate', then yes -- unlike a movie, a work of literature really is produced (Kerryn Goldsworthyhttps://www.blogger.com/profile/11270814460793882309noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133414183773849382005-12-01T16:16:00.000+11:002005-12-01T16:16:00.000+11:00Thank you Pavlov, Norman, and Hil for three very u...Thank you Pavlov, Norman, and Hil for three very useful and thoughtful comments. I am reading Lessig's book Free Culture (2004) at the moment. I'm not certain how it might fit in with my thing but it's interesting for its own sake, so that's good enough for now. The paper you linked to, Hil, reads like an alternate-universe revision of Harold Bloom's big theory about how poets always have to lucy tartanhttps://www.blogger.com/profile/09244574932248425378noreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133403176554797192005-12-01T13:12:00.000+11:002005-12-01T13:12:00.000+11:00Hi Laura. Are you familiar with Lawrence Lessig's ...Hi Laura. Are you familiar with Lawrence Lessig's free culture presentation:<BR/><BR/>http://randomfoo.net/oscon/2002/lessig/free.html<BR/><BR/>which has the refrain:<BR/><BR/>*Creativity and innovation always builds on the past.<BR/>*The past always tries to control the creativity that builds upon it.<BR/>*Free societies enable the future by limiting this power of the past.<BR/>*Ours is less andAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133392972324246012005-12-01T10:22:00.000+11:002005-12-01T10:22:00.000+11:00Thanks for the implicit link to the Negativland es...Thanks for the implicit link to the Negativland essay. (The full text is <A HREF="http://www.law.duke.edu/pd/papers.html" REL="nofollow">online</A>.) And that Julie Andews mashup is fantastic.<BR/><BR/>If you're adding a section on creative commons etc., you might throw in something on fans. Fanfiction writers go in more for unofficial sequels and episodes, but there are always people writing Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-10611988.post-1133357985278480482005-12-01T00:39:00.000+11:002005-12-01T00:39:00.000+11:00It doesn't tally with the myth of the creative gen...It doesn't tally with the myth of the creative genius book author, either -- so it's an irritant in the Literature as High Art machine as well, a point I'm sure you also make. <BR/><BR/>Surely it's your supervisor's job to give you help with the problem about how to build in the new stuff?Kerryn Goldsworthyhttps://www.blogger.com/profile/11270814460793882309noreply@blogger.com