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A Rhetoric of Adaptation

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An Eurhythmatic Response to Adaptive Accrual: A Rhetoric of Adaptation Mark Rowell Wallin A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2007 ©Mark Rowell Wallin 2007 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This dissertation applies to the study of adaptation principles of rhetoric, transtextual analysis and visual semiotics. It posits that adaptations are imitations-with-variations and that rather than existing in binary, one-to-one correspondence with their models, adaptations and their models accrue semiosis, forming large “megatexts.” These megatexts are composed of networks of associations that have meaning and change according to their contexts. Adaptation analysis becomes a matter of reading associations and textual linkages, or “reading through” the accrued texts. Eurhythmatic analysis, an analytical strategy drawn from both ancient and modern rhetoric, accounts for these variations while emphasizing the material contexts out of which variations emerge. This project uses these rhetorical strategies to address issues particular to new media adaptations, such as the nature of authorial ethos and identity in a marketplace of competing adaptations and collaborative creation. It examines the process of rhetorical identification that occurs in video game adaptations which ostensibly claim the same model, yet vie for legitimacy – children squabbling for the birthright of the recognized heir. Finally, this thesis examines the new adaptive possibilities opened up by the DVD anthologizing process whereby diverse texts are brought under a titular umbrella. These texts and the navigational overlays designed to constrain and control them, blur the otherwise clear boundaries between adaptation and model, between inside and out. In transtextual terms, this distinctive adaptive form is an internal hypertext, or an adaptation situated on the threshold that distinguishes the paratext from the hypertext. iii Acknowledgements First, I would like to thank my committee. Specifically I want to thank Dr. Andrew McMurry for his steady hand, quiet confidence and guidance – a calm port in often stormy seas. Thanks to Dr. Randy Harris for his invaluable suggestions and insight as well as his unflinching “tough love.” I would like to think that my soul has been salvaged by the process. And thanks to Dr. Neil Randall for his early lead, encouragement, and unwavering support throughout my graduate studies. Thanks to Dr. Murray and Kathy McArthur, who always knew what to say to keep me going and always had my back. Thanks also to Dr. Michael MacDonald for steering me away from perilous theoretical shores early on, his career advice, and frequent morale boosts. Thanks also to Dr. Glenn Stillar who first inspired me and Dr. John North, who gave me a chance when no one else would consider me. Thanks to Dr. Mike Truscello and Karl Wierzbicki for sharing in the insanity. Thanks to Dale Wallin – a quiet centre in a tempestuous world. Someday I hope to live up to the example you set me every day. Finally and most importantly, unbounded thanks to Josephine, Celeste, and Sophie Graham for their constant faith in me. I could have never done this work without them beside me. iv Dedication To Barbara and Tim: “gentle ghosts, with eyes as fair/As star-beams among twilight trees,” “lovely ministers” who have always guided my feet. v Table of Contents Abstract …………………………………………………………………………………………………………………………………. iii Acknowledgement ……………………………………………………………………………………………………………………..... iv Dedication ………………………………………………………………………………………………………………………………...v Introduction ………………………………………………………………………………………………………………………………1 Chapter 1 – The Major Players: An Overview of Adaptation Theory ………………………………………………………………. 8 Chapter 2 – Adaptive Accrual: How Hyper- and Hypotexts become Megatexts ………………………………………………….. 51 Chapter 3 – Eurhythmia: Reading “Adaptations as Adaptations” …………………………………………………………………85 Chapter 4 – Ethos, Authorship and the New Media Adaptation ………………………………………………………………….. 110 Chapter 5 – Eurhythmatic Analysis of the Video Game Adaptations of Lord of the Rings ………………………………………146 Chapter 6 – From Narrative to Stasis: Paratextually Decoding the New Media Adaptation ……………………………………182 Conclusion …………………………………………………………………………………………………………………………….. 243 vi List of Illustrations Figure 2.1 The Durable Peritext of Alan Moore’s Graphic Novel The League of Extraordinary Gentlemen ……………………….... 52 Figure 2.2 The Durable Peritext of Stephen Norrington’s Film The League of Extraordinary Gentlemen ……………………………52 Figure 2.3 A Page of the Talmud ………………………………………………………………………………………………………75 Figure 2.4 – The Talmud Project Allows Users to Manipulate Multiple Texts in Virtual Space ………………………………………78 Figure 2.5 – The Physical Interface for the Talmud Project……………………………………………………………………………. 79 Figure 4.1 – The Field of New Media Text Production and Distribution……………………………………………………………... 119 Figure 4.2 – The Fragmentation of Authorship of the New Media Product…………………………………………………………...130 Figure 4.3 – The Cycle of Adaptation Ethos ………………………………………………………………………………………. …140 Figure 5.1 – The Durable Peritext of The Lord of the Rings: The Two Towers Video Game…………………………………………. 152 Figure 5.2 – The Durable Peritext of The Lord of the Rings: The Return of the King Video Game………………………………….. 153 Figure 5.3 – Approaching the Story Map of EA’s Return of the King ……………………………………………………………….. 158 Figure 5.4 – Gandalf’s Battle for the Walls of Minas Tirith…………………………………………………………………………... 168 Figure 5.5 – The Vivendi Universal Games/Tolkien Estates Official Seal……………………………………………………………173 Figure 5.6 – Electronic Arts Official Seal……………………………………………………………………………………………... 173 Figure 5.7 – The Durable Peritext of The Hobbit ……………………………………………………………………………………... 175 Figure 6.1 – The Durable Peritext of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………. 203 Figure 6.2 – The Durable Peritext of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition ………………………204 Figure 6.3 – Approaching the Navigational Menu for The Appendices Part One from The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………..210 Figure 6.4 – Approaching the Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………………………. 211 Figure 6.5 – “Turning the Page” to the Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ……………………………………………………………………………………………………...…. 212 Figure 6.6 – The Main Menu Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD …………... 214 Figure 6.7 – The Special Features Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD ……... 215 Figure 6.8 – The “Special Thanks” Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD ….….216 Figure 6.9 – The “Select a Scene” Menu Interface of The Lord of the Rings: The Fellowship of the Rings Theatrical Edition DVD …………………………………………………………………………………………………………………………... 217 Figure 6.10 – Approaching the Navigational Menu for Part One of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ………………………………………………………………………………………………………………..... 220 Figure 6.11 – “Set Up Screen and Sound Options” Menu for Part One of The Lord of the Rings: The Two Towers Special Extended DVD Edition ……………………………………………………………………………………………………………………………. 221 vii Figure 6.12 – “Special Features: Audio Commentaries” Menu for Part One of The Lord of the Rings: The Two Towers Special Extended DVD Edition …………………………………………………………………………………………………………………. 222 Figure 6.13 – “Designing and Building Middle Earth” Navigational Menu for The Appendices Part Five from The Lord of the Rings: The Return of the King Special Extended DVD Edition……………………………………………………………………….............. 223 Figure 6.14 – “Introduction” Navigational Menu for The Appendices Part One from The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition …………………………………………………………………………………………………... 226 Figure 6.15 – The Navigational Maps for The Appendices Part One and Two from The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition …………………………………………………………………………………………………………230 Figure 6.16 – The Inside Flap of the Packaging for The Lord of the Rings: The Fellowship of the Ring Special Extended DVD Edition ………………………………………………………………………………………………………………………………….. 232 Figure 6.17 – A Close-up of the Main Navigational Menu for Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition …………………………………………………………………………………………………………………. 239 Figure 6.18 – The Navigational Cursors for Commentary Track Menu on Part One and The Appendices Part Two of The Lord of the Rings: The Fellowship of the Rings Special Extended DVD Edition ………………………………………………………………...…239 viii Introduction In the introduction to his translation of Chaucer’s Troilus and Criseyde, John Dryden collapses the modern distinctions between translation, plagiarism, adaptation, and originality into a metaphor of transfusion. This generative image of a donation of life-
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