Doctor Who: Adaptations and Flows
Doctor Who: Adaptations and Flows Mark Bould Doctor Who (1963-1989, 2005-), the longest-running and most successful sf television show of all time (Miller), provides unique insights into how the experience of television programming has developed over the last half-century. Moreover, almost from the moment of its inception, it became a multimedia franchise, with comics, books, toys, games, a rebooted series, spin-off series, interactive web content and so on, as well as cinematic, direct-to-video, televisual, and internet/DVD pornographic film adaptations.1 Such a proliferation of commercial texts poses particular problems—and opportunities—for adaptation studies, which hitherto has tended to concentrate on the nature of textual transformations between more-or-less canonical texts and their adaptations—a close focus that typically loses sight of adaptations and their sources as commodities bound up in the realms of production and consumption. In order critically to comprehend them, it is necessary to come to terms with the nature of intellectual, creative labour required by both producers and consumers of textual commodities. That is, we need to develop the means by which to “examine the historically specific conjunctures in which interests and meanings are brought into being and actively negotiated” (Grainge 8). This requires attention not only to “the diversity of attitudes and practices that exist among consumers, audiences and subordinate social groups” privileged in cultural disciplines since the 1980s, but also “with equal sensitivity to context and complexity the interests and meanings worked out within the field of cultural production” (8). Thinking about adaptation therefore requires us simultaneously to consider not only the processes by which we make culture out of commodities but also those by which capital is made out of culture.
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