Adaptation Online: Creating Memes, Sweding Movies, and other Digital Performances explores how traditional notions of the processes and products of creative adaptation are evolving online. Using a performance lens and a shift in terminology from the metaphor of the cultural meme to the framing that adaptation affords, Lyndsay Michalik Gratch considers online adaptations in terms of creative process and human agency, rather than merely as products. This book offers a glossary of strategies for online adaptation that is useful not only for scholars in performance studies, but also for scholars of cinema, communications, and new media studies.
Adaptation Online: Creating Memes, Sweding Movies, and other Digital Performances explores how traditional notions of the processes and products of creative adaptation are evolving online. Using a performance lens and a shift in terminology from the metaphor of the cultural meme to the framing that adaptation affords, Lyndsay Michalik Gratch considers online adaptations in terms of creative process and human agency, rather than merely as products. This book offers a glossary of strategies for online adaptation that is useful not only for scholars in performance studies, but also for scholars of cinema, communications, and new media studies.
Contents
Acknowledgments
Chapter 1: Online Video-to-Video Adaptation
Chapter 2: The Many Voices of Antoine Dodson
Chapter 3: The Many Faces of Sweet Brown
Chapter 4: Hitler.....Played by Der Untergangers
Chapter 5: Sweding Dirty Harry: Collaged Confessions of a
Cinemasochist
Conclusion: Another Neverending Story
Bibliography
About the Author
Lyndsay Michalik Gratch is assistant professor of film at Georgia Gwinnett College and an interdisciplinary scholar-artist.
This book makes a strong contribution to the breadth and health of
performance studies, and should be noted for its relevance and
explanatory power when it comes to emerging forms of performance,
technology, participation, and democratization. It moves beyond the
analysis of “the digital,” broadly understood, to look at specific
forms of adaptation and citationality in memes and viral video. The
sweding chapter in particular, but not exclusively, shows how the
ludic and the analytic work in tandem in serious play that unites
comrades in art and helps build engaged, critical communities of
practitioners.
*Craig S. Gingrich-Philbrook, Southern Illinois University*
Lyndsay Michalik-Gratch’s study of the ubiquitous practices of
adapting videos on the Internet extends adaptation theory into new
terrain with deft, insightful, and entertaining analyses of such
phenomena and aesthetic/cultural practices as YouTube and social
media memes, practices of autotuning, songification, sweding and
various forms of re-enactment and parody. She develops a typology
of video adaptation, an original theorization that is both precise
and supple enough to be of great use to scholars who analyze
Internet and popular culture communication in her wake.
*Patricia A. Suchy, Louisiana State University*
Lyndsay Michalik Gratch's Adaptation Online attempts something
different than a mere aesthetics or typology of digital
appropriation and intertextual remixing, or even a sustained
inquiry into the legality of appropriation. The book's sometimes
troubling examples raise questions about the ethics of online
appropriation. Gratch's most extreme cases compel readers to think
through how unauthorized borrowing, "outsider" banditry, parody,
mimicry, and sometimes outright mockery (even when uttered in a
playful remix "vernacular") do or do not constitute responsible
acts within virtual communities--which embrace, as the book reminds
us, "a potentially global audience."
*Paul Edwards, Northwestern University*
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