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Emma Approved Transmedia, Social Media Platforms and Interactive Storytelling
Emma Approved: transmedia, social media platforms and interactive storytelling V CONGRESO INTERNACIONAL COMUNICACIÓN Y PENSAMIENTO SIMPOSIO 11. Nuevos escenarios para la ficción audiovisual: de la “caja tonta” a la multipantalla Ana Ávila Bohórquez Giovanni Ciofalo Universidad Complutense de Sapienza Università di Roma Madrid [email protected] [email protected] Silvia Leonzi Fabio Ciammella Sapienza Università di Roma Sapienza Università di Roma [email protected] [email protected] Emma Approved: transmedia, social media platforms and interactive storytelling • Pregunta de investigación: Cómo se utilizan las plataformas de medios sociales para la creación de proyectos de narrativa transmedial de bajo presupuesto • Objeto de estudio: Emma Approved (YouTube, 2013-2014) • 72 episodios (+ contenido extra) • Pemberley Digital, en asociación con Kin Community • Creador: Bernie Su • Basado en novela Emma , de Jane Austen Mundo transmedial (Transmedia world) • Antecedentes : • Storyworld de Jane Austen • Storyworld de Pemberley Digital – The Lizzie Bennet Diaries (2012- 2013) • Crossover (Wolf, 2012) – Caroline Lee • Elementos • Mythos: trasfondo (backstory), personajes, conflictos • Topos: escenarios • Ethos: ética y moralidad Plataformas narrativas Canal de YouTube de Pemberley Digital YouTube • Canales complementarios • Emma Woodhouse • Q&A vídeos • Harriet’s Music Club • Otros • Harriet’s Application Vídeo • Martin’s Crane Video • Pemberley Digital 2 • Contenido extra: tomas falsas, castings, cámara oculta Blog – -
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma?
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma? Presented to the S. Daniel Abraham Honors Program in Partial Fulfillment of the Requirements for Completion of the Program Stern College for Women Yeshiva University May 6, 2020 Elka Basya Wiesenberg Mentor: Dr. Nora Nachumi, English Introduction “We’ve all seen it at least once,” says Devoney Looser, in The Making of Jane Austen, “A purist complains that Jane Austen’s fiction is being cheapened or even destroyed by film and television adaptations, [and by] vlogs” (13).1 Some readers of Austen feel that onscreen adaptations are ruining the novels. The characters, the story, the novels do not necessarily translate the way these readers imagined them, and this makes these adaptations undesirable to them, not giving them the experience that they want. Are these purists correct? Are modern adaptations destroying the authentic experience of a Jane Austen novel? Or is there something to be gained from a multimedia adaptation of Austen’s works? To begin to understand these questions, we must explore others. First, we must understand: What is the experience of an Austen novel? Second, we must discuss: How is this experience translated into a screen adaptation? What is different? These are questions that this paper will answer in order to understand the above complaints and prove them partially right-- and partially wrong. An Austen novel’s appeal lies heavily in its narrative voice, its narrator and style, as will be discussed, and this is what we will consider the Austen experience. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
Unconscious Motives in Jane Austen's Emma
SYDNEY STUDIES Unconscious Motives in Jane Austen's Emma G.A. WILKES The words 'unconscious' and 'unconsciously' occur twenty times in Jane Austen's six novels, l with various levels of meaning. The simplest instance is the 'unconscious Marianne' of Sense and Sensibility (p. 333), unconscious because she has fallen asleep. The word is applied in a similar way to the trees of Norland Park, in "\larianne's romantic imaginings about them after her departure: 'you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible ofany change in those who walk under your shade!' (p. 27). When Catherine Morland is despatched so unceremoniously from Northanger Abbey, and the post-chaise passes the turning to Woodston, she thinks of Henry Tilney 'so near, yet so unconscious' (p. 230), and her grief and agitation are excessive. In these instances 'unconscious' means inert, or unaware, or lacking the capability ofawareness. 2 On otheroccasions it applies to a state of abstraction, or of absorption in other things. Thus Marianne Dashwood is spared the impertinent stares of the young man selecting a toothpick-case which are felt by her sister, 'by remaining unconscious ofit all; for she was as well ableto collect her thoughts within herself, and be as ignorant of what was passing around her, in Mr. Gray's shop, as in her own bed-room' (p. 221). When at Uppercross Anne Elliot finds herself conveyed into the carriage through Captain Wentworth's intervention, and so spared the fatigue of the walking-party, she is so affected that 'her answers to the kindness and the remarks of her companions were at first unconsciously given. -
From Letters to Vlog Entries
From Letters to Vlog Entries The Vlog Adaptation as a Remediation of the Epistolary Novel BA Thesis Comparative Literary Studies Hannah Ackermans 3814610 Supervisor: Sara Rosa Espi 30 June 2014 2 Contents Introduction 5 1 Immediacy: from the postal culture to the memoir boom 9 Truthfulness as a literary trope in fiction 2 Hypermediacy: between homogeneity and heterogeneity 15 Materiality as the unreliability of the narrator 3 Remediation: between assembly and fragmentation 21 Temporal effects of serialization Conclusion 25 Appendix 29 3 4 Introduction People love to read, watch, and experience stories, even – or especially – when those stories originate from another time period. The nineteenth century novels by Jane Austen and the Brontë sisters seem to be more popular than ever, being continually reprinted and adapted to different media. These adaptations vary greatly in objective, concept, and execution. Some adaptations, called costume dramas, aim for fidelity to the original, such as TV series Pride and Prejudice (Langton, 1995) and film Wuthering Heights (Arnold, 2011). These adaptations transpose the original storyline as well as the original setting to the film. Other adaptations of classics transport the storylines to the twentieth/twenty-first century, such as ‘chick flick’ Clueless (Herckerling, 1995) and Bollywood film Bride & Prejudice (Chadha, 2004). And there is a broad genre which does not necessarily adapt the whole story, but alludes to it, making playful use of (primarily Austen’s) novels, such as ‘chick lit’ Breakfast at Darcy’s (McNamara, 2011) and book series Bridget Jones (Fielding, 1996, 1999, 2013). Together these adaptations show both the love a modern day audience has for these nineteenth century stories and the urge and practice to adapt and appropriate these stories. -
Copyright by Teresa Rose Warner 2014
! ! ! ! ! ! ! ! ! Copyright ! By ! ! Teresa Rose Warner ! ! 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! The Report committee for Teresa Rose Warner certifies that this is the approved version of the following report: ! How Jane Austen Fixed Everything: An Examination of a Television Pilot From Idea to Second Draft. ! ! ! APPROVED BY SUPERVISING COMMITTEE SUPERVISOR: ________________________ Richard Lewis ! ________________________ Cynthia A. McCreery How Jane Austen Fixed Everything: An Examination of a Television Pilot From Idea to Second Draft. By Teresa Rose Warner B.A. ! Report ! Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts The University of Texas at Austin August 2014 ! ! ! Abstract How Jane Austen Fixed Everything: An Examination of a Television Pilot From Idea to Second Draft. By Teresa Rose Warner, M.F.A The University of Texas at Austin, 2014 Supervisor: Richard Lewis. This report covers the development of the pilot episode and show bible of How Jane Austen Ruined My Life. It covers the moment the writer conceived of the idea to the completion of the second draft and finally the planning of the third draft. Furthermore, this report will cover the writer’s growth, detailing the two years spent at the University of Texas and how that time molded her into the writer she is today. ! ! ! ! ! ! ! ! ! iv Table of Contents! CHAPTER ONE: FIRST IMPRESSIONS 1 CHAPTER TWO: LOST IN AUSTEN 3 CHAPTER THREE: WELCOME TO SANDITION 7 CHAPTER FOUR: PERSUASION 12 CHAPTER FIVE: BECOMING JANE 15 CHAPTER SIX: MISS AUSTEN REGRETS 20 CHAPTER SEVEN: AUSTENLAND 23 CHAPTER EIGHT: EMMA APPROVED 30 CHAPTER NINE: SENSE AND SENSIBILITY 32 APPENDIX A: FIRST OUTLINE/TREATMENT 36 APPENDIX B: SECOND DRAFT OF OUTLINE/TREATMENT 46 APPENDIX C: NOTES FROM COMMITTEE MEETING CONCERNING FIRST DRAFT 59 APPENDIX D: THIRD DRAFT OF SHOW BIBLE. -
Jane Austen: a Study of Film Adaptations Megan Graham University of South Florida
University of South Florida Scholar Commons Outstanding Honors Theses Honors College 4-1-2011 Jane Austen: A Study of Film Adaptations Megan Graham University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/honors_et Part of the American Studies Commons Scholar Commons Citation Graham, Megan, "Jane Austen: A Study of Film Adaptations" (2011). Outstanding Honors Theses. Paper 20. http://scholarcommons.usf.edu/honors_et/20 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Outstanding Honors Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Jane Austen: A Study of Film Adaptations Megan Graham Pat Rogers Spring 2011 1 Jane Austen’s novels have been adapted for film and television since 1938. This popularity is due to the fact that Austen’s novels tell timeless love stories, which are appealing to audiences. In the 1990’s there were massive quantities of movies or television mini-series made from her books. Today, most people know about the novels through the films they watch. It is hard for the modern reader to relate to the lifestyle and everyday events of the characters in Jane Austen’s books because of such a vast time span. The films help modern society to interpret Austen’s writings. In regards to film adaptation there are two schools of thought. The first school is the traditionalist school that believes that a film should mirror the original work, the novel, as closely and faithfully as possible. -
UNIVERSITY of CALIFORNIA, SAN DIEGO the New and Everlasting
UNIVERSITY OF CALIFORNIA, SAN DIEGO The New and Everlasting Order of Marriage: The Introduction and Implementation of Mormon Polygamy: 1830-1856 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Merina Smith Committee in charge: Professor Rebecca Plant, Chair Professor Claudia Bushman Professor John Evans Professor Mark Hanna Professor Christine Hunefeldt Professor Rachel Klein 2011 The Dissertation of Merina Smith is approved, and is acceptable in quality and form for publication on microfilm and electronically: _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ Chair University of San Diego 2011 iii TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents………………………………………………………………….. iv Vita………………………………………………………………………………… v Abstract……………………………………………………………………………. vi Introduction ..……………………………………………………………………… 1 Chapter One: ………………………………………………………………………. 28 Mormon Millenarian Expectations: 1830-1841 The Restoration of All Things and the Resacralization of Marriage Chapter Two: ………………………………………………………………………. 84 Nauvoo Secrets and the Rise of a Mormon Salvation Narrative, 1841-42 Chapter Three: ……………………………………………………………………... 148 Scandal and Resistance, 1842 Chapter Four: -
Jane Austen and Transmedia Narratives Analysis of the Cate Morland Chronicles
Master in English Literature and Linguistics Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles MA Thesis Author: María Heredia Torres Supervisor: María Elena Rodríguez Martín Granada, September 2018 Heredia 1 Table of contents Abstract 2 1. Introduction 3 2. Theoretical framework 5 2.1. Fidelity and narratological approaches 6 2.2. Beyond fidelity and narratology: Review of recent adaptation theories 8 2.3. Transmedia storytelling 12 3. Adaptation of Jane Austen‟s works 18 3.1. Adaptations of Jane Austen‟s novels 20 3.1.1. From the1940s to the 1980s: The first adaptations 20 3.1.2. The 1990s: Austenmania 22 3.1.3. The 2000s and 2010s: Adaptations in the twenty-first century 24 3.2. Adaptations of Northanger Abbey 27 3.3. Fan phenomenon and web series 29 3.3.1. The Lizzie Bennet Diaries as precedent 31 4. Analysis of The Cate Morland Chronicles 33 4.1. Adaptation and modernisation problems: Extra-cinematic factors 34 4.1.1. Filters related to time 35 4.1.2. Filters related to place and culture 38 4.1.3. Influences and intertextuality 39 4.2. Transmedia analysis 44 4.2.1. The Cate Morland Chronicles and transmedia 44 4.2.2. Transmedia and fandom 51 5. Conclusion 55 References 59 Appendix 1 72 Appendix 2 76 Heredia 2 Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles ABSTRACT The main aim of my MA thesis is to analyse The Cate Morland Chronicles (2016), a web series based on Jane Austen‟s novel Northanger Abbey (1818), and to explore how transmedia storytelling is used to adapt and modernise a classic novel. -
Transmedia Storytelling
Transmedia Storytelling Transmedia Storytelling: Pemberley Digital’s Adaptations of Jane Austen and Mary Shelley By Jennifer Camden and Kate Faber Oestreich Transmedia Storytelling: Pemberley Digital’s Adaptations of Jane Austen and Mary Shelley By Jennifer Camden and Kate Faber Oestreich This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Jennifer Camden, Kate Faber Oestreich All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0835-8 ISBN (13): 978-1-5275-0835-4 To our families: Eric, Emma, and Teddy Joe, Beckett, and Ellie Deepest gratitude for carving out the time and space so we could travel, collaborate, and write this book. “We are unfashioned creatures, but half made up.”1 “I shall commit my thoughts to paper, it is true; but that is a poor medium for the communication of feeling. I desire the company of a man who could sympathize with me, whose eyes would reply to mine.”2 —Mary Wollstonecraft Shelley, Frankenstein, or The Modern Prometheus “Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies, not to be confused with traditional cross-platform media franchises, sequels, or adaptations.”3 ―Wikipedia 1 Mary Shelley, Frankenstein, edited by Johanna M Smith (Boston: Bedford St. -
Emma: Power and Propriety
Emma: Power and Propriety Exploring power in Jane Austen’s novel Emma Marloes van den Berg 3367053 BA-thesis Literatuurwetenschap Supervisor: B. Bagchi 02-02-2012 Preface Here I am; at the end of my thesis. Writing the preface is one of the last things on my checklist “completing a bachelor thesis”. For a long time I thought writing a bachelor thesis would be the hardest thing ever. Writing something between six and eight thousand words seemed impossible, what subject should I choose? The more I thought about it, the more I realized how important it was to choose a subject I like. Therefore I chose one of Jane Austen’s novels. Jane Austen was probably one of the first authors who wrote literature I really liked. Besides focussing on Emma I wanted to use some of Foucault’s theory on power. I am always intrigued by the way Foucault writes about power and how power seems to be everywhere. So, a combination of those two would be the subject of my thesis. The next step was to find a supervisor. After asking some people who knew a lot of Jane Austen, it became clear to me that I would be lucky if Dr. Bagchi would be my supervisor. Luckily enough she agreed, and I am very thankful that she helped me throughout the whole process. I really enjoyed the Friday afternoon meetings in which we talked about my thesis. Thank you Barnita for all the help you gave me. One of the hardest things for me was writing my thesis in English. -
FULLTEXT01.Pdf
Linköping University | Department of Culture & Communication | English Linköpings universitet | Institutionen för kultur och kommunikation | Engelska Bachelor’s Thesis 15 credits C uppsats 15 hp Spring Term 2021 Vårterminen 2021 Emma Woodhouse, Handsome, Clever, and Rich… and Bisexual? – a study of attraction and impossible things in Jane Austen’s Emma Emma Woodhouse, stilig, klyftig, och rik… och bisexuell? – En studie av attraktion och omöjliga saker i Jane Austens Emma Natasha Jonsson Supervisor/Handledare: Jami Weinstein Examiner/Examinator: Maria Strääf Linköping University Linköpings universitet SE-581 83 Linköping, Sweden 013-28 10 00, www.liu.se !1 Table of Contents Introduction…………………………………………………………………………………………3 A Summary of Emma……………………………………..……………………………….………..4 Bisexuality & Bi-erasure……………………………………………………………………………5 Emma’s attraction to women…………..…………………………………………..……………….8 Emma’s attraction to men……………..……………..……………………………………….…..16 Why Emma could not choose a woman even if she wanted to………………………………….21 Conclusion………………………………………………………………………………………….23 Works Cited………………………………………………………………………………………..26 !2 Introduction “Emma Woodhouse, handsome, clever and rich” (Austen 3), and bisexual. Published in 1816, Emma by Jane Austen is one of her most beloved works. Since its release, there have been many discussions on the titular character’s sexuality, especially because of her relationship with Harriet Smith. Most of these discussions argue that Emma is strictly homosexual, claiming that she has no attraction to men. There are others who take on a more heteronormative perspective, describing Emma’s relationship with the women in Highbury as friendships rather than romantic relationships. Few, if any, see Emma’s sexuality from both sides, finding her to be, as I will argue, bisexual. The aim of this thesis is to explore Emma Woodhouse’s attraction to both men and women, as well as to understand why most other critics have not considered the possibility that she might be bisexual.