Articoli di riviste sul tema "Adaptation (Motion picture)"

Intertextuality has been a driving force for Adaptation Studies, but few scholars have highlighted its relevance, rather prioritizing issues such as audience reception, cinematographic technique or aesthetics and, occasionally, fidelity. However, the starting point for any audiovisual production (be it film, television or theater) is the written matter, the text. Inserted within the field of Adaptation Studies in dialogue with Comparative Literature and Theory of Intertextuality, the present papers assesses the extent to which there are points of contact between William Shakespeare’s tragedy Romeo And Juliet the Walt Disney animated motion picture Pocahontas. The paper initially discusses the adaptation of Shakespeare’s text as a starting point for film productions, proceeding to theoretical reflections between Comparative Literature, Adaptation Theory, intertextuality and rewriting, and to the comparative analysis between the tragedy and the motion picture, which leads to the conclusion of a retroversive movement between source and adapted texts, which invites to the question of intertextual rewriting in Adaptation Studies

The effect of attention on the adaptation effects produced by stimuli rotating in the picture plane was examined in five experiments. In experiment 1, subjects performed a task either on a rotating adapting stimulus or on an irrelevant distractor stimulus. Adaptation of a subsequent ambiguous test stimulus was greater when the adapting stimulus was attended than when the irrelevant stimulus was attended. In experiments 2, 3, and 5, two adapting stimuli were presented, rotating in opposite directions, and subjects attended to one or the other. The direction of rotation of the ambiguous test stimulus depended on which adapting stimulus was attended. In experiment 4, the influence of eye movements in producing adaptation in ambiguous motion displays was determined by contrasting the effects of adaptation produced by dual adaptation stimuli rotating in the same or opposite direction. Adaptation effects were not predicted by eye movement hypotheses.

This article asserts that the original Star Trek films (1979–91) have importance for the study of memory and media in the digital era. I advance several interrelated arguments, with a special emphasis on Star Trek: The Motion Picture . First, I address how Star Trek: The Motion Picture ’s treatment of memory corresponds to scientific models of human recollection and theories of archives and databases. Notably, the first Star Trek film expresses anxiety about the mutability of memory and potential ramifications of digitalization. Such elements anticipate major strands of scholarship on memory, digitalization, and franchises from subsequent decades. Second, I introduce the concept of “franchise recall,” which highlights the memory-driven nature of media franchises. Franchise recall manifests through self-reflexive commentary on cross-medium adaptation and/or through the use of recycled footage within installments. By mapping franchise recall across the initial six Star Trek films, I expose an underlying interconnectedness comparable to the associative operations of memory. Throughout the article, I also show how Star Trek: The Motion Picture ’s narrative and aesthetics resemble slow cinema. Overall, I demonstrate the surprising prescience and continued relevance of the original Star Trek films for grappling with the parameters and intersections of human and technological recall.

Electrophysiological recordings have established that motion and disparity signals are jointly encoded by subpopulations of neurons in visual cortex. However, the question of whether these neurons play a perceptual role has proven challenging and remains open. To answer this question we combined two powerful psychophysical techniques: perceptual adaptation and reverse correlation. Our results provide a detailed picture of how visual information about motion and disparity is processed by human observers, and how this processing is modified by prolonged sensory stimulation. We were able to isolate two perceptual components: a separable component, supported by separate motion and disparity signals, and an inseparable joint component, supported by motion and disparity signals that are concurrently represented at the level of the same neural mechanism. Both components are involved in the perception of stimuli containing motion and disparity information in line with the known existence of corresponding neuronal subpopulations in visual cortex.

The cinema is as much a theatrical form of entertainment as performance on the stage, a fact that is crucial to a full appreciation of Ernst Lubitsch‘s Lady Windermere‘s Fan (Warner Brothers, 1925). Particularly in the cinemas silent era (1895-1925), when motion picture exhibition relied on numerous performance elements, theatrical performance and film exhibition interpenetrated. This underscores a basic conundrum: cinema has been integral to, and an extension of, theatrical culture, even though it has also been something quite different - a new art form. Indeed, the unity of stage and screen was so well established that critics, theorists, historians and artists expended large amounts of intellectual energy distinguishing the two forms while paying little attention to what they held in common. One fundamental feature of theatrical practice that carried over into many areas of filmmaking was adaptation. For Lubitsch, adaptation was a central fact of his artistic practice. This article looks at the history of adaptations of Lady Windermere‘s Fan on stage and screen making reference to textual comparisons, public reception, painting, symbolism and queer readings.

The biphasic adhesion–velocity relation is a universal observation in mesenchymal cell motility. It has been explained by adhesion-promoted forces pushing the front and resisting motion at the rear. Yet, there is little quantitative understanding of how these forces control cell velocity. We study motion of MDA-MB-231 cells on microlanes with fields of alternating Fibronectin densities to address this topic and derive a mathematical model from the leading-edge force balance and the force-dependent polymerization rate. It reproduces quantitatively our measured adhesion–velocity relation and results with keratocytes, PtK1 cells, and CHO cells. Our results confirm that the force pushing the leading-edge membrane drives lamellipodial retrograde flow. Forces resisting motion originate along the whole cell length. All motion-related forces are controlled by adhesion and velocity, which allows motion, even with higher Fibronectin density at the rear than at the front. We find the pathway from Fibronectin density to adhesion structures to involve strong positive feedbacks. Suppressing myosin activity reduces the positive feedback. At transitions between different Fibronectin densities, steady motion is perturbed and leads to changes of cell length and front and rear velocity. Cells exhibit an intrinsic length set by adhesion strength, which, together with the length dynamics, suggests a spring-like front–rear interaction force. We provide a quantitative mechanistic picture of the adhesion–velocity relation and cell response to adhesion changes integrating force-dependent polymerization, retrograde flow, positive feedback from integrin to adhesion structures, and spring-like front–rear interaction.

During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.

This article aims to present the book-to-film metamorphosis of Grover Underwood from Rick Riordan’s novel The Lightning Thief (2005), adapted in 2010 by Chris Columbus for the screen. This character in both works is presented as an excluded member of the society: in the empirical world, as a disabled person, in the mythological one, as a satyr. What is more, in the motion picture, Grover, played by a Black actor, poses as an even more marginalised character, as a representative of a community discriminated in the USA. Therefore, the images of this character reflect the various levels of exclusion and show the ideological significance of a contemporary adaptation for the young audience. The comparative analysis is performed with the use of reception studies and critical race theory perspectives.

Abstract An instructor at Berlin’s Free University, who has analyzed “Robin auf der Leinwand” in his Robin Hood: Geschichte einer Legende (Munich 2013) and co-edited The Medieval Motion Picture: The Politics of Adaptation (New York 2014), now focuses on Beowulf. In three lectures (given at Zurich) he deals with its international setting, styled as “tatsächlich kosmopolitisch” (p. 16). The theme is promising, as he relates it to physical entities: a Roman mosaic “auf dem Orpheus abgebildet” (p. 20) at Bath; Sutton Hoo; a sword-hilt described in Beowulf as wyrmfah (“having snake-like ornaments”); and a gold coin (after an Arabic original) of King Offa. But there are problems. Despite a worthy subject and reference to postcolonialism or theories of Derrida and others, nothing ever seems proved.

The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.

The aim of the paper is to discuss A Monster Calls (2016) by J. A. Bayona, a film adaptation of Patrick Ness’s novel (2011) of the same title, based on an original idea by Siobhan Dowd, from the empowerment theory perspective. The author of the article indicates that there are some significant changes between the book and the motion picture, especially when it comes to the ways of empowering the protagonist and the works’ potential young audience. The results of this comparative study show that the film is more affectively empowering than the novel. This is mainly because in the book, Ness skillfully uses verbal narration (accompanied by Jim Kay’s illustrations), while in the film, Bayona takes advantage of the possibilities offered by the audiovisual medium, therefore providing the audience with artistic and psychological empowerments.

Picture frame shear tests are state of the art for determining the shear force vs. shear angle behaviour for in-plane deformation of most technical textiles, such as woven fabrics. Many publications describe this test and the used picture frames. Benchmark tests showed that the measured shearing behaviour for one sample depends on the picture frame used. The shearing rigidity of most textiles is very small compared to the in-plane tensile stiffness, so slight imperfections on the experimental setup have a significant effect on the measured results. During the picture frame test, wrinkles may form on the sample surface during the motion of the picture frame above a critical shear angle. These wrinkles can be described as local fabric buckling. If forming of wrinkles leads to a lower level of internal energy compared to a further shearing of the fabric, local wrinkles occur due to the principle of least action. Because of this effect, the measured shear force above the first formation of wrinkles is inaccurate for describing the exact shearing behaviour of textiles. Another possibility for measuring the shear force vs. shear angle behaviour is the bias-extension test. Here, higher shear angles can be achieved without the formation of wrinkles. Both methods are compared in this paper for different textile samples. The relationship of the shear angle and the applied shear force is an important mechanical value and one of the most important input parameter in numerical drape simulations. The analysis of wrinkles, which occur during textile draping, demands exact input parameters for the simulation. Most important for the drape simulation of technical high-performance textiles are accurate values for the bending and shear behaviours. This paper presents simulation results of the wrinkling during a picture frame shear test. Results show that the input parameter for the shear rigidity delivered by the picture frame shear test do not exactly reproduce the formed wrinkles and are, therefore, not suitable for an exact drape simulation. The underestimation of the shear force vs. shear angle behaviour will be shown with a finite element simulation model. The adaptation of the picture-frame and bias-extension parameters for a proper use in numerical drape simulations are examined.

Literary texts have been regularly adapted into the motion picture since the invention of talkies. Accordingly, the relationship between the original literature, the adapted movie and its translation for international audiences, mainly in the form of subtitling, have become an attractive and growing source of study. This intertextuality is argued to influence the perception and evaluation of the vulnerable subtitle by the viewers. Therefore, adopting an intertextual approach to the subtitling of dialogue in the Iranian film Captain Khorshid, the present study aims at discussing the extent to which the subtitle corresponds to the audiences’ expectations. For this purpose, Ernest Hemingway’s To Have and Have Not and the adapted film Captain Khorshid, directed by Naser Taghva’i, are analysed. Farahzad’s (2009) model of intertextuality and Sanatifar and Kenevisi’s (2017) reformulated model of Grice are employed as the models for analysing, establishing and assessing the relationship between the texts. After discussing the relationship between the literary text and the adapted movie within the theory of intertextuality, the English subtitle of the Persian soundtrack is discussed by comparing it with the original English quote. This intertextual relationship is maintained to be mainly the source of comparison between the literature, i.e. protext, and the adaptation film, i.e. metatext, by the audience of the film as well. In other words, when the film is subtitled back into the language of the original literary work, the protext and the metatext meet, and a reunion occurs. Therefore, it is concluded that the more the subtitle corresponds to the original literary text, the more it is evaluated by the audience to be accurate.

Background The ability to maintain balance in an upright stance gradually worsens with age and is even more difficult for patients with cognitive disorders. Cognitive impairment plays a probable role in the worsening of stability. The purpose of this study was to expose subjects with mild cognitive impairment (MCI) and healthy, age-matched controls to moving visual scenes in order to examine their postural adaptation abilities. Methods We observed postural responses to moving visual stimulation while subjects stood on a force platform. The visual disturbance was created by interposing a moving picture in four directions (forward, backward, right, and left). The pre-stimulus (a static scene for 10 s), stimulus (a dynamic visual scene for 20 seconds) and post-stimulus (a static scene for 20 seconds) periods were evaluated. We separately analyzed the total path (TP) of the center of pressure (COP) and the root mean square (RMS) of the COP displacement in all four directions. Results We found differences in the TP of the COP during the post-stimulus period for all stimulus directions except in motion towards the subject (left p = 0.006, right p = 0.004, and away from the subject p = 0.009). Significant RMS differences between groups were also observed during the post-stimulus period in all directions except when directed towards the subject (left p = 0.002, right p = 0.007, and away from the subject p = 0.014). Conclusion Exposing subjects to a moving visual scene induced greater destabilization in MCI subjects compared to healthy elderly controls. Surprisingly, the moving visual scene also induced significant aftereffects in the MCI group. Our findings indicate that the MCI group had diminished adaptation to the dynamic visual scene and recovery. These results suggest that even mild cognitive deficits can impair sensory information integration and alter the sensory re-weighing process.

This paper reviews evidence for the idea that much of human learning, perception, and cognition may be understood as information compression and often more specifically as “information compression via the matching and unification of patterns” (ICMUP). Evidence includes the following: information compression can mean selective advantage for any creature; the storage and utilisation of the relatively enormous quantities of sensory information would be made easier if the redundancy of incoming information was to be reduced; content words in natural languages, with their meanings, may be seen as ICMUP; other techniques for compression of information—such as class-inclusion hierarchies, schema-plus-correction, run-length coding, and part-whole hierarchies—may be seen in psychological phenomena; ICMUP may be seen in how we merge multiple views to make one, in recognition, in binocular vision, in how we can abstract object concepts via motion, in adaptation of sensory units in the eye of Limulus, the horseshoe crab, and in other examples of adaptation; the discovery of the segmental structure of language (words and phrases), grammatical inference, and the correction of over- and undergeneralisations in learning may be understood in terms of ICMUP; information compression may be seen in the perceptual constancies; there is indirect evidence for ICMUP in human cognition via kinds of redundancy such as the decimal expansion of π which are difficult for people to detect; much of the structure and workings of mathematics—an aid to human thinking—may be understood in terms of ICMUP; and there is additional evidence via the SP Theory of Intelligence and its realisation in the SP Computer Model. Three objections to the main thesis of this paper are described, with suggested answers. These ideas may be seen to be part of a “Big Picture” with six components, outlined in the paper.

In the section devoted to “Attention”inThe Principles of Psychology(1890), William James describes how the “‘adaptation of the attention’” can alter our perception of an image so as to permit multiple visual formulations (417). In his example of a two-dimensional drawing of a cube, we can see the three-dimensional body only once our attention has been primed by “preperception”: the image formed by the combination of lines has “no connection with what the picture ostensibly represents” (419, 418). In a footnote to this passage, however, James uses an example from Hermann Lotze'sMedicinische Psychologie(1852), to show how a related phenomenon can occur involuntarily, and in states of distraction rather than attention:In quietly lying and contemplating a wall-paper pattern, sometimes it is the ground, sometimes the design, which is clearer and consequently comes nearer. . .all without any intention on our part. . . .Often it happens in reverie that when we stare at a picture, suddenly some of its features will be lit up with especial clearness, although neither its optical character nor its meaning discloses any motive for such an arousal of the attention. (419)James uses the formal illogicality of the wallpaper (its lack of compositional center prevents it from dictating the trajectory for our attention according to intrinsic aesthetic laws) to demonstrate the volatility of our ideational centers, particularly in moments of reverie or inattention. Without the intervention of the will, James says, our cognitive faculties are always in undirected motion, which occurs below the strata of our mental apprehension. Momentary instances of focus or attunement are generated only by the imperceptible and purely random “irradiations of brain-tracts” (420). Attention, for James, is the artistic power of the mind; it applies “emphasis,” “intelligible perspective,” and “clear and vivid form” to the objects apprehended by the faculties of perception, it “makesexperience more than it is made by it” (381). Reverie, a moment when attention has been reduced to a minimum, thus demands an alternative aesthetic analog, where composition is reduced to a minimum too.

Viewing static pictures of running humans evokes neural activity in the dorsal motion-sensitive cortex. To establish whether this response arises from direction-selective neurons that are also involved in real motion processing, we measured the visually evoked potential to implied motion following adaptation to static or moving random dot patterns. The implied motion response was defined as the difference between evoked potentials to pictures with and without implied motion. Interaction between real and implied motion was found as a modulation of this difference response by the preceding motion adaptation. The amplitude of the implied motion response was significantly reduced after adaptation to motion in the same direction as the implied motion, compared to motion in the opposite direction. At 280 msec after stimulus onset, the average difference in amplitude reduction between opposite and same adapted direction was 0.5 μV on an average implied motion amplitude of 2.0 μV. These results indicate that the response to implied motion arises from direction-selective motion-sensitive neurons. This is consistent with interactions between real and implied motion processing at a neuronal level.

This paper investigates the realities of literature adaptation to film in today’s world of literary criticism. People enjoy motion pictures and compare them with its original textual Literature. By focusing on literary criticism theories, this article explains modern to postmodern aesthetic points, especially in the era of definitions in romanticism, reflectionism and its auto, empiricism until pragmatism, and the age of language beyond communication. Through those former points, the adaptation of Literature to film brings in a wider point: the world itself. The adaptation is shown to broaden concepts and interpretations among writers, directors, and also audiences. Every aspect is so active to interpret in today's crisscrossed world that meanings vary from critical and evaluation perspectives. The adaptation is not about merely fixed definitions or even market orientations but open meanings on dialogues among realities. Any measurement from Literature or film is never enough to compare adaptation to its original form since it is located between individualities and societies. In conclusion, the adaptation of Literature should indicate that dominations must be minimized by maximizing hospitality of differences.

Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.

Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several relevant cinematic attributes (e.g., literary adaptations, writer-directors, biopics, sequels, remakes, film genres, runtime, and Motion Picture Association of America ratings). Analyses indicated that negative assessments were largely the inverse of positive assessments, with similar weights being assigned to most cinematic attributes. However, the negative judgments were somewhat less consequential regarding those same attributes.

Thanks to the Kurt Wallander novels of Henning Mankell, the Lisbeth Salander novels of Stieg Larsson, and their motion picture and television adaptations, crime fiction by Finnish and Scandinavian writers has soared in popularity with American readers over the past few years. In her Encyclopedia of Nordic Crime Fiction, Mitzi M. Brunsdale sets out to survey the growing field while offering a historical analysis of its development and importance. She argues that the region’s crime fiction “largely deals with the serious societal problems resulting from originally well-intentioned Nordic welfare state policies now proving problematic,” and believes that it “has enormous relevance to today’s dangerous world” (1).

Ambrose Bierce’s Civil War story ‘An Occurrence at Owl Creek Bridge’ was adapted in 1959 as a television episode of Alfred Hitchcock Presents and in 1962 as Robert Enrico’s French film La Rivière du hibou, which was presented as an episode of The Twilight Zone in turn. Although the common reading of this story aligns it with the author’s other ‘antiwar’ narratives, African American enslavement comes to the fore in both these audio-visual adaptations, but with opposite connotations. Examining their digression in narrative and stylistic directions illustrates the dichotomies of motion-picture aesthetics: low vs. high art, mainstream vs. avant-garde, escapism vs. social critique – and demonstrates the cultural possibility for these contrasting approaches to register concurrently as popular media products.

How do motion pictures transpose the characters from a well-established literary work into a cinematic narrative, replete with their own narrative potential? Can the resulting film be regarded as an entirely new creation? To explore these questions, we have selected Aki Kaurismäki's 1983 cinematic adaptation of Fyodor Dostoevsky's Crime and Punishment. The primary objective of this study is to ascertain whether the characters from a literary work undergo a transformation into new personas, enriched by the narrative possibilities inherent to cinema. Kaurismäki's adaptation of Crime and Punishment transposed the narrative to a more contemporary era and streamlined the cast of characters, with the film director imparting his distinctive touch to their transformation. In Kaurismäki's rendition of Crime and Punishment, a metafictional dimension emerges, blurring the boundaries of narrative levels. The film's characters comport themselves as if intimately acquainted with the original novel's story and characters. While maintaining fidelity to the foundational narrative, a novel artistic creation takes shape, wherein the characters exhibit a profound awareness of their origins within the original literary work.

The article performs the comparative study of Daphne du Maurier’s Rebecca film adaptations. It investigates motion pictures by A. Hitchcock (1940), R. Milani (2008) and B. Wheatley (2020). The analysis of the narrative-discursive techniques used by these authors aims to consider the problem of screen representation of the Rebecca’s specific spacetime model. The main investigated subject is the screen image of Manderley estate, its impact on diegesis, plot and symbolism in these movies. Manderley as an aesthetic complex corresponds to the chronotope of the “castle” in the interpretation of M. Bakhtin. Accordingly, the comparative study of the operations performed with it reveals the most important characteristics and traits of this spacetime model and shows how it applies with the detective genre or plots with a detective component. The “castle” as a spacetime structure that outlines the external boundaries and sets the internal laws of diegesis; its role in the “mystery” logics and the development of detective intrigue; “castle” as a plot-forming principle and metacharacter — all these questions concerned in terms of screen arts.

La literatura y el cine se relacionan en cuatro aspectos básicos: la literatura determina, en sus orígenes, la naturaleza de los filmes, sus motivos y estrategias; la literatura y el cine son formas narrativas, por lo que comparten estructuras míticas, populares y de relato; ambos se vinculan mediante el problema de la adaptación; y el cine ejerce una influencia estética en las obras literarias y en el concepto tradicional de literatura. Este artículo examina estos vínculos desde una perspectiva conceptual e histórica.Literature and cinema are related in four main aspects: in its origins literature determines the nature of films; literature and motion pictures are narratives, and share mythical, popular and narrative structures; both are linked because of the issue of adaptation; and movies influence literary works and the traditional concept of literature. This article examines these relationships from a conceptual and historic perspective.

Visual perception is adapted toward a better understanding of our own movements than those of non-conspecifics. The present study determined whether time perception is affected by pictures of different species by considering the evolutionary scale. Static (“S”) and implied movement (“M”) images of a dog, cheetah, chimpanzee, and man were presented to undergraduate students. S and M images of the same species were presented in random order or one after the other (S-M or M-S) for two groups of participants. Movement, Velocity, and Arousal semantic scales were used to characterize some properties of the images. Implied movement affected time perception, in which M images were overestimated. The results are discussed in terms of visual motion perception related to biological timing processing that could be established early in terms of the adaptation of humankind to the environment.

The paper has tried to address the modification and adaptation done by the motion pictures industry on the business model, decision-making process, and revenue model, with a case study on Walt Disney. This paper also tried to understand the digital disruptiveness probable strategies taken by media organizations to conquer the spot of market leader and gain a competitive advantage from the set of homogeneous competitors. The new normal business model that has helped Disney+ to create the core competency has given the organization a long-term benefit to make a sustainable business model. The paper further indulges on how Walt Disney’s proactive, informed, and balanced decision-making process about the sudden change in media business dynamics along with the arts and communication industry is going to be a benchmark while keeping the window of both online and offline media business with growing target audience and revenue generation. In the end, we have tried to come up with a business model for the media industry in contemporary times and the future.

The sea level is rising, and floods threaten the infrastructure all over the world; therefore, we should identify the risks for envelops of buildings and settlements. The risks arise due to the new boundary conditions and a direct contact between the water flows in motion. A floating construction site requires a manifold adaptation of structures. The paper demonstrates the effect of water waves on floating houses built on abandoned open pit mines. Pictures of destroyed accessways to such properties have proven the need to study the effect of water waves on floating houses. In order to minimize the time and spending on experimental activities, some of the field studies should be replaced by numerical simulations using modern computing equipment and ANSYS FLUENT, ANSYS MECHANICAL FSI, and ANSYS AQWA software. The results can be validated using a hydraulic testing channel (15 x 5 m), a floating platform near the harbor of Lake Gro r schener See and floating houses in the Lusatian Lakeland. The results demonstrate the wave forces acting on the structures of the pontoons. New connection elements, adapted versions of materials and structures have been developed, water waves are damped, and options for the wave energy use have been analyzed.

This article explores the problem of multimodality through the example of films, which are a synthesis of different modes (or codes), such as the verbal part in its combination with other components of the film text. The objects of study are motion pictures that are screen adaptations of literary works, i. e. which are based on the actual verbal texts. Therefore, the main attention in the study is comparing the text of a literary work and the film text of its screen version, especially what was included in the latter and what was eliminated, changed, or modified. This takes into account whether the eliminated components have been compensated for by other code systems and how the modifications that occur with the verbal text in the process of its screening can be argued, as well as what kind of qualitative and content reorientation occurs with the text basis when it is screened. As an example we use the screen version of the novel The Wall by the Austrian writer Marlene Haushofer, which represents the notes of a woman who survived an inexplicable catastrophe, after which she remains behind a glass wall in absolute isolation. The direct object of the study is the author’s monological speech of the main (and the only) heroine. Her language consists of a mixture of the three main classical compositional speech types (CST) of the text — description (descriptive), narration (narrative) and reasoning (argumentative). The purpose of the article is the comparative analysis of these CSTs in both works in the aspect of multimodality. The objectives of the study are: 1) identification of fragments of the film and novel texts, representing different CSTs; 2) comparison between the film text and the text of the novel; 3) highlighting the main linguistic means characteristic of these CSTs; 4) analysis of ways to compensate for eliminated fragments with the help of other modes or code systems used in cinematography. The article uses such research methods as comparison, contextual and semantic analysis. The first study comparing the text of the novel by M.Haushofer with its cinematic version made it possible to reveal that in the process of film adaptation with the literary text-base (even when it’s treated with care), significant transformations take place, leading to the modification of its content.

Since the earliest writings of Bharatmuni's Natyashastra, an essential text in Indian aesthetics written more than two thousand years ago, women have been essentially connected with beauty and makeup. Shringararasa was mostly associated with women in the Rasa philosophy. This link has persisted and can even be seen in current Hollywood productions. It is interesting how beauty has been portrayed in two distinct manners throughout various historical works of literature, films, and books. On one hand, it has supported stereotypes like child marriage and placed restrictions on women's access to higher education and the workforce. On the other side, beauty has the ability to oppose patriarchy and, in a larger sense, be a tool for engaging in the struggle against oppression and lending support to diverse freedom movements. When faced with these obstacles, women stand out as heroes because they actively destroy patriarchal repressive institutions. Numerous narratives, motion pictures, and stage plays—both fiction and non-fiction—emphasize the extraordinary resilience of women and demonstrate how they employ cosmetics and beauty not just as a means of self-expression but also as instruments of adaptation in feminist movements and combat zones. These tales capture the essence of Goddess Durga, who stands for fortitude and tenacity. This paper analyses both perspectives of beauty, citing various texts, movies, novels, and other media as sources for its arguments. Let us continue the teachings of history, mythology, and film by traversing the complexity of beauty, strength, and resistance. Let us raise the voices of those who question conventions, celebrate diversity, and collaborate to create a society where every individual, regardless of gender, may thrive and contribute to the prosperity of a genuinely inclusive and just world.

The main purpose of this doctoral thesis is to co-design and examine digitally supported inclusive practices in science learning. Inclusive practices aim to provide quality education and quality learning opportunities for all students. Inclusive practices are characterised by process-oriented development that takes into account a student’s personal abilities and needs concerning both knowledge and competencies as well as the classroom context. Since there are very few research-based models for inclusive practices, the longitudinal educational design research (EDR) project aimed to co-design digitally supported inclusive practices at the grassroots level with researchers, teachers and students. The EDR project took place during two years in a medium-sized primary school in the capital region of Finland, where inclusive education was employed as part of teacher collaboration. The participating class (44 students; 10 students with learning difficulties [LD]) had two primary teachers and one special education teacher, the defender of this thesis. The EDR consisted of four macro-cycles, which intended to increase understanding of co-designing and implementing inclusive practices in science learning. The first macro-cycle focused on exploring possibilities for using smartphone technology in a water project. In the second macro-cycle, students used the developed personal solutions and designed collaborative solutions while studying the following science-related themes: forest, human, motions and forces, and space. In the third macro-cycle, students studied Europe and Asia, plants, human and states of matter. The participants developed further both personal solutions and collaborative solutions. Finally, the fourth macro-cycle focused on one science theme, electricity, where solutions were designed for collaborative learning and especially for active participation. The thesis is comprised of four publications that form a holistic picture of the possibilities of digital technology when considering the adaptation, use and benefits for the student both at the personal and group level. Publication I reports the results of the first macro-cycle of the EDR. Publication II discusses the benefits of using a smartphone in science learning from a student’s personal learning perspective, reflecting all four macro-cycles. Publication III describes the EDR project’s final macro-cycle, electricity project, in which students utilised personal strategies that were supported by the teacher through respectful grouping, differentiated learning tasks and a reflective discussion after lessons. Finally, Publication IV evaluates the development and implementation of the inclusive practises throughout the EDR project from the perspective of the LD students. The data was collected through video recordings of ideating sessions, questionnaires, students’ notes from the e-learning environment, the teacher’s memo and interviews; it was analysed via quantitative analysis of frequencies, qualitative content analysis and co-occurrence network analysis. As its theoretical contribution, this thesis weaves together the two frameworks of inclusive practices in science learning. First, the digitally supported inclusive science learning supports a student’s personal learning through the differentiation of content, process and product through the use of multimodality. The teacher employs a student’s personal strategies when preparing a collaborative learning project, especially at the levels of process and product. In light of the objective of inclusion, the teacher’s support during the process should aim at giving intensified support and structured guidance in collaborative activities where students require various competences. Second, such a long-term, reflective, co-designing project supports both the use of digital technology and the development of inclusive practices. LD students benefit from a process-oriented, comprehensive, structured and reflective use of technology in their learning. Differences between students’ digital competencies bring a new element to the classroom alongside academic knowledge, both of which affirm LD students’ social status in the classroom. The thesis emphasises that a long-term co-designing project can both develop teaching practices and engage students to develop their personal learning, and hence, promote inclusive education at the grassroots level.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Введение. Рассматривается англоязычная переводческая рецепция повести А. П. Чехова «Степь» (1888), которая стала первым крупным произведением, ознаменовавшим переход к зрелому периоду творчества писателя. Определяющим пространственным ориентиром в повести и творчестве Чехова в целом выступает степь. В контексте изучения переводов повести на английский язык особое значение приобретает вопрос о диалектическом единстве национальной и универсальной проблематики в чеховском образе степи. Цель – изучение множественных репрезентаций образа степи в англоязычных переводах повести «Степь» в его двух взаимосвязанных измерениях: как национально-маркированного географического пространства и как «ландшафта настроения». Материал и методы. Материалом исследования послужили переводы «Степи» на английский язык, выполненные Э. Л. Кэй (1915), К. Гарнет (1919), Р. Хингли (1980), А. Миллером (1989), Р. Уилксом (2001), Р. Пивером и Л. Волохонской (2004) и отражающие различные этапы восприятия повести. В основе методологии настоящего исследования – сравнительно-сопоставительный метод изучения оригинала и переводов, объектом сопоставления выступают устойчивые формально-содержательные компоненты (мотивы), формирующие образ степи («простор», «даль», «тоска», «одиночество»). Результаты и обсуждение. Основная пространственная характеристика степи – ее бесконечная протяженность – выражена в повести мотивами простора и дали. Данные понятия отражают особенности восприятия пространства носителями русского языка. Нерасторжимая связь пространства с национальной ментальностью наиболее ярко проявляется в слове «простор». Мотив простора является центральным в авторской трактовке образа степи Чеховым. Простор степи лишает человека ориентиров, делает пространство несоразмерным его устремлениям. Анализ мотива «простор» в переводах повести позволяет говорить о двух тенденциях: с одной стороны, переводчиками выделяются универсальные составляющие пространственной семантики (эквиваленты «space», «room»), с другой – предпринимаются попытки передать специфические свойства русского простора (эквиваленты «spaciousness», «wide (vaste) expanse», «vastness»). При передаче мотива дали основным эквивалентом выступает существительное «distance». При этом отмечаются его отличия от значения исходной единицы «даль»: соотнесенность в большей степени с длиной, чем с широтой пространства, присутствие вектора движения. Наиболее очевидными трансформациями оригинала при передаче мотива дали можно считать использование переводчиками лексических единиц с семантикой границы («end», «horizon», «limits»). Образ степи в чеховской повести построен на тесной связи изображения степных пейзажей с душевным состоянием героев. Пространство степи выступает проекцией их внутреннего мира. Непреодолимость степи, нескончаемое однообразие и монотонность ее пейзажей вызывают всеохватное чувство тоски и одиночества, которые становятся ключевыми мотивами, формирующими образ степи как «ландшафта настроения». «Тоска» относится к ключевым словам русской культуры. Национально-культурная специфика, в частности связь тоски с русскими пространствами, определяет обнаруженные в переводах трансформации мотива тоски. Он представлен широким рядом эквивалентов, формирующих для восприятия англоязычного читателя новое поле смыслов. На первый план в нем выходит общее значение горя или страдания («grieve»/«grief», «misery»/«miserable»/«miserably», «anguish» и др.), реже – желания чего-либо («longing», «yearning»/«yearn»), т. е. в переводах актуализируются прежде всего культурно-универсальные эмоциональные ассоциации. Индивидуальное воплощение данный мотив приобрел в переводе Хингли, где эксплицируется связь тоски со смертью («agonized», «lamenting», «dying»). Сходные трансформации обнаруживаются при передаче мотива одиночества. Наиболее часто переводчики выбирают эквиваленты, соответствующие оригиналу своей эмоциональной окрашенностью («lonely»/«loneliness», «solitary»/«solitariness», «solitude»). Заключение. Образ степи заключает в себе неразрывную связь русской национальной и чеховской индивидуально-авторской картин мира. Включенность формирующих образ степи мотивов в глубокий национально-культурный контекст ограничивает их переводимость на язык иной ментальности, что подтверждается множественностью и разнообразием предлагаемых переводчиками эквивалентов. С их помощью переводчики адаптируют образ степи, как правило выводя на передний план в рассмотренных мотивах универсальные смыслы и редуцируя национально-специфические, а вместе с тем и авторские, расставляют индивидуальные акценты в своих интерпретациях. В то же время вследствие такой, очевидно, неизбежной культурной адаптации в рассмотренных переводах не сохраняется «резонансный» принцип построения текста повести, реализованный Чеховым в системе авторских повторов. Introduction. The article analyses English translations of Anton Chekhov’s The Steppe (1888), the first major work of the writer’s mature period. The central spatial landmark in the story is the steppe, whose image is of great importance for translation studies in terms of the dialectics between the national and the universal. Aim. The author aims at studying the multiple representations of the steppe in English translations in two interrelated aspects: as a nationally marked geographical space and as a “mood landscape.” Material and methods. Six English translations of The Steppe at the various stages of reception: by Adeline Kaye (1915), Constance Garnett (1919), Ronald Hingley (1980), Alex Miller (1989), Ronald Wilkes (2001), Richard Pevear and Larissa Volokhonsky (2004). The author employs a comparative approach for analysing the recurring meaningful elements (motifs) embedded in the image of the steppe (“prostor”, “dal’”, “toska”, “odinochestvo”). Results and discussion. The main spatial feature of the steppe is its infinity expressed through the motifs of “prostor” and “dal’”, which are peculiar for the perception of the steppe by native Russian speakers. The motif of “prostor” is central for Chekov’s interpretation of the steppe. “Prostor” is something that deprives people of reference points and becomes disproportionate to human aspirations. This concept most clearly manifests an indissoluble connection of the steppe infinity with the national mentality. The analysis of its English translations shows two simultaneous tendencies: while in some cases the translators specify universal components of spatial semantics (“space”, “room”), in others they seek to convey the specific properties of the Russian “prostor” through such equivalents as “spaciousness”, “wide (vast) expanse”, and “vastness.” The Russian “dal’” is mainly translated into English as “distance”. However, there is an obvious difference between “distance” and the original “dal’”: the former is more about length and directed motion, while the latter correlates with the latitude of space. The most frequent translation equivalents of “dal’” are the lexemes with the semantics of boundary (“end”, “horizon”, “limits”). The image of the steppe in Chekhov’s story demonstrates a close connection of the landscape with the characters’ state of mind. The steppe acts as a projection of people’s inner world, with its infinite vastness and endless monotony evoking all-encompassing melancholy and loneliness. These feelings become the key motifs in the image of the steppe as a “mood landscape.” Nationally and culturally determined, the motif of “toska” does not have a universal translation, producing a broad range of equivalents that shape new semantic fields for English-speaking readership. The most foregrounded concepts of grief and suffering (“to grieve”/“grief”, “misery”/“miserable”/“miserably”, “anguish” etc.) are followed by those of longing for something (“longing”, “yearning”/“yearn”), i.e. the translations primarily promote universal emotional associations. In Hingley’s translation, however, the original motif acquires a unique rendition, since the translator explicitly links melancholy with death. Similar transformations can be found in translation of the motif of loneliness. The translators mainly choose equivalents to match the emotional colouring of the original (“lonely”/“loneliness”, “solitary”/“solitariness”, “solitude”). Conclusion. Chekhov’s image of the steppe demonstrates an inextricable link between the Russian national and the writer’s pictures of the world. Since the motifs constructing the image of the steppe are deeply embedded in the national culture, their translatability into other language mentalities is limited. Various equivalents are used to adapt the image of the steppe for other cultural contexts. As a rule, the translators foreground the universal component and reduce the national specificity, adding individual accents in their renditions. At the same time, due to such an obviously inevitable cultural adaptation, the “resonance” principle of constructing the text of the story, implemented by Chekhov through the system of repetitions, was not preserved in the considered translations.

THE GOD OF CHANCE AND PURPOSE: Divine Involvement in a Secular Evolutionary World by Bradford McCall. Eugene, OR: Wipf & Stock, 2022. 156 pages. Paperback; $24.00. ISBN: 9781725283831. *Bradford McCall is a young but prolific scholar, having completed his PhD in 2022 at the Claremont School of Theology, yet having published five books and about fifty articles. In this slim volume of six chapters, McCall proposes the elements of a complementary relationship between science, particularly evolutionary biology, and Christian faith. His proposal is rooted in a panentheistic theology of God that I will consider further below. On a first reading, I confess that I often lost the thread of McCall's argument amid his dense prose and fascinating tangents. On my rereading of the book, I distilled from the concluding chapter an outline of McCall's argument, so as to maintain a sense of direction throughout chapters 1-5. *The relation between science and theology is broadly considered in chapter 1, using the typology of Mikael Stenmark. McCall then proposes that science and theology overlap in terms of both social practice and subject matter. A metaphysical monist, he does not distinguish between mental and physical processes. This connects with the assertion (via Arthur Peacocke) that there is no "causal joint" to look for, either in solving the mind-body problem or in a theory of divine action. McCall is influenced by process philosophy and proposes panexperientialism--the idea that everything, from people to fundamental particles, has experience, a "subjective interiority." This is not to say that electrons think, nor does McCall tend toward anthropomorphism, but his is not the disenchanted universe of Jacques Monod. His theology of God is "intermediate between the omnipotent God of classical theism and the absentee god of deism" (p. 9). God, in this view, is "persuasive, not coercive" toward the creation. McCall views complex phenomena as emergent, invoking John Haught's notion of "layered explanations" that operate simultaneously without conflict. *The second chapter offers a consideration of evolutionary thought and the philosophy of biology--common ancestry, selectionism, adaptationism, and units of selection. Subtle controversies are investigated, such as the falsifiability of adaptationism, pluralism as an alternative, and the concept of spandrels introduced by Stephen Jay Gould and Richard Lewontin. This was deep and informative reading. In some ways, it was my favorite chapter; yet it seems disconnected from the thread of McCall's overall argument. *McCall's third chapter is entitled "The God of Chance," but oddly contains no discussion of God. Rather, he investigates how scientific thought has developed the idea of chance. As a twenty-first-century scientist, I take statistical reasoning for granted. It had never occurred to me that biologists in Darwin's time would lack this category of reasoning. Let me digress for a moment to make a connection with physics, since that is my own area. The theory of statistical mechanics developed rapidly between 1857 and 1905. In 1859, the same year Darwin published On the Origin of Species, James Clerk Maxwell presented a paper in which he described the random motions of gas molecules with the distribution that now bears his name. This history is well summarized in a 1997 paper by Dieter Flamm.1 It should therefore not have surprised me to learn from McCall that, in Darwin's time, statistical thinking had as yet gained no purchase in the biological sciences. *Darwin introduced chance as shorthand for undirected variation within a species, the raw material upon which selection acts. He used the word "chance" 67 times in On the Origin of Species. Darwin's writing reflects an inner struggle over how to conceptualize random phenomena. Like the pre-quantum physicists, Darwin did not think of chance as a cause in itself; rather, it reflected the ignorance of a human observer attempting to describe a dauntingly complex natural world, with too many moving parts to track--be they molecules or finches. Nevertheless, in many places Darwin appears to ascribe causal power to chance. This is an apparent break with the thinking of his contemporaries. By the time Gould and Niles Eldredge articulated the theory of punctuated equilibria, random processes were commonplace in all the sciences. *Relying heavily on Grant Ramsey and Charles Pence,2 McCall summarizes the development of thought about chance, contingency, probability, and the variability (or fixity) of species. Working from Democritus to Aristotle and up to Darwin's time, he sketches the context in which Darwin's ideas took shape. Darwin's innovation was to show how selection bridges from what seems purposeless (chance variation) to what seems purposeful (adaptation). In this regard, Darwin's writing over time increasingly appropriated the language of purpose. Nonetheless, Darwin adopted the agnosticism of Huxley, and he resisted the attempts of Asa Gray to pull him toward natural theology. *From Darwin, McCall traces the outlines of the modern synthesis in the first half of the twentieth century and thence to Gould. Contingency, operating at a host of levels from large environments to small populations and microscopic mutations, has played a growing role to the present day. McCall raises the question of whether chance is "fundamental and irreducible," but he addresses this question more through the lens of twentieth-century philosophy than twentieth-century science, quoting, for example, Bertrand Russell's 1913 essay "On the Notion of Cause." To me, this was a surprising choice. Critiques of the sort raised by Russell and others have exerted little influence on scientific discourse, as a search for recent mentions of causal(ity) in contemporary journals will show. McCall seemingly returns to a more typical picture of causation in chapter 5 (e.g., in the conclusion of his discussion of teleology on p. 113). *In chapter 4, McCall invokes Philip Clayton and Jürgen Moltmann to set forth a scientifically informed theology of God. The journey begins with the question of how God relates to the universe. McCall adopts panentheism, in which the universe is within God, but God is more than the universe. God's role as creator argues for the universality of what scripture teaches. The monist approach of panentheism entails that God works in and through the creation. On this view, natural law is divine action by which the universe is sustained. Yet McCall acknowledges the need for a theory of divine action, at least to account for miracles. Some have proposed that randomness (quantum or classical) leaves room for a "bottom up" style of divine influence in the world. McCall eschews any such "causal joint," preferring to "leave the notion of divine involvement in the world ambiguous, nebulous, and indefinite." He prefers "top-down causation," à la Arthur Peacocke and Jaegwon Kim. I longed for a deeper dive into why McCall rejects divine omnipotence and why he posits that God works exclusively through secondary causes. I perceive unresolved tension between these assertions and McCall's acknowledgment of miracles and his expressed eschatalogical expectation of re-creation. *This chapter may aim at an audience already immersed in Philip Clayton's work, which I am not. I found myself repeatedly puzzled. For example, quoting Clayton, arguing for panentheism: "The infinite may without contradiction include within itself things that are by nature finite, but it may not stand outside of the finite" (p. 99). A counterexample sprang immediately to mind: the (infinite) set of rational numbers is outside the finite set {π, e}. Perhaps infinite is here understood to mean entirely comprehensive, containing everything; but on that interpretation, Clayton's words would be a definition of panentheism rather than an argument for it. *Traditionally, Christian theology has employed a dualist metaphysics in which God is distinct from creation. Faced with McCall's adoption of a monist panentheism, one might wonder how created beings who are part of God have freedom or moral agency. Do scriptural themes such as sin or judgment belong in a universe that is conceived as a strict subset of God's being? McCall does not address such potential inconsistencies. The answers may depend on what McCall (via Clayton and Moltmann) actually means by panentheism, a category that has perhaps expanded beyond its original definition. See, for example, Roger Olson's perceptive essay on panentheism and relational theology.3 *McCall turns to natural theology in chapter 5. Following Alister McGrath, the task of natural theology is to read nature from a Christian theological perspective. Natural theology should engage in constructive "sense-making," not to convince the unbeliever, but to perceive the divine within and behind nature. McCall articulates but peremptorily dismisses Aquinas's teleological argument for the existence of God from regularities in nature. This form of natural theology and its modern analogues McCall abruptly denigrates as "notoriously ambiguous, conceptually fluid, and imprecise" (p. 105). This illustrates a shortcoming of the book: McCall revels in intellectual history, but his assessment of the ideas is frequently unclear or incomplete. *There follows a detailed summary of McGrath's The Open Secret, but this summary makes too little contact with McCall's argument. Better is his engagement with Darwinism and the Divine, which leads into a critique of Paley's natural theology and a contrast with T. H. Huxley. Often quoted as a categorical denier of purpose in evolution, Huxley saw incontrovertible teleology in some "primordial molecular arrangement"--an initial condition from which the present state of the world would inexorably develop. McCall likens this to Ernst Mayr's observation that "the occurrence of goal-directed processes is perhaps the most characteristic feature of the world for living systems" (p. 113). The thread of natural theology is then reintroduced, proposing a picture in which divine purpose manifests in the world through natural processes. I was left wanting a deeper consideration of this idea. For example, when viewed through a Christian lens, what specific purposes are implicit in the evolutionary process, and how does natural history resonate with the character of God revealed in scripture? Finally, considering that McGrath sees no conflict with orthodox Christian theology, why should the reader opt for McCall's monist panentheism? *Chapter 6 seemed too brief a conclusion. I wanted to see the implications drawn more clearly from the first five chapters, and their integration into a coherent picture. For example, how does the foundation laid in chapter 4 for a theology of God connect to the importance of chance investigated in chapter 3? Do the imperatives for natural theology that emerge in chapter 5 support the theology of God proposed in chapter 4? The work also makes scant contact with scripture, leaving important themes and obvious questions unconsidered. The form of the conclusion colors this work as a project proposal, rather than the project itself. Nevertheless, the book was thought provoking, made connections with a galaxy of important thinkers, and gave me a host of provocative ideas to follow up. This made it worth my (repeated) engagement. *Notes *1Dieter Flamm, "History and Outlook of Statistical Physics," paper presented at the Conference on Creativity in Physics Education, on August 23, 1997, in Sopron, Hungary, https://arxiv.org/pdf/physics/9803005.pdf. *2Grant Ramsey and Charles Pence, "Chance in Evolution from Darwin to Contemporary Biology," in Chance in Evolution, ed. Grant Ramsey and Charles Pence (Chicago, IL: University of Chicago Press, 2016), 1-11. *3Roger E. Olson, "Relational Theology Yes; Panentheism No," The Patheos Evangelical Channel, September 26, 2022, https://www.patheos.com/blogs/rogereolson/2022/09/relational-theology-yes-panentheism-no/. *Reviewed by Charles Kankelborg, Professor of Physics, Montana State University, Bozeman, MT 59717.

The genus Pongo is ideal to study population genetics adaptation, given its remarkable phenotypic divergence and the highly contrasting environmental conditions it’s been exposed to. Studying its genetic variation bears the promise to reveal a motion picture of these great apes’ evolutionary and adaptive history, and also helps us expand our knowledge of the patterns of adaptation and evolution. In this work, we advance the understanding of the genetic variation among wild orangutans through a genome-wide study of short tandem repeats (STRs). Their elevated mutation rate makes STRs ideal markers for the study of recent evolution within a given population. Current technological and algorithmic advances have rendered their sequencing and discovery more accurate, therefore their potential can be finally leveraged in population genetics studies. To study patterns of population variation within the wild orangutan population, we genotyped the short tandem repeats in a population of 21 individuals spanning four Sumatran and Bornean (sub-) species and eight Southeast Asian regions. We studied the impact of sequencing depth on our ability to genotype STRs and found that the STR copy number changes function as a powerful marker, correctly capturing the demographic history of these populations, even the divergences as recent as 10 Kya. Moreover, gene ontology enrichments for genes close to STR variants are aligned with local adaptations in the two islands. Coupled with more advanced STR-compatible population models, and selection tests, genomic studies based on STRs will be able to reduce the gap caused by the missing heritability for species with recent adaptations.

The study will discuss the definitive, disciplinary and medial aspects of the interactive story book, which is a genre having only a few years of history. The question about the correlation of lingual and image mediums, based on theories that present a formal link between still images and written word by the text-image researches, is described with the category of inter-references. In both cases the text and its illustration – the motion picture and the voice - are detached, the receiver is able to separate these media explicitly while experiencing their coherence at the same time. In interactive story books, to compare with traditional picture-books, the inter-references are multiplied, because in these mobile applications the written and vocal modus of lingual medium are cooperating with the still and moving modus of the image illustration. Through the adaptation of The Little Red Riding Hood and other international and Hungarian applications the study discusses how these relationships are created in three correlating layers, and in a fourth one, in the sub-classic layer and also models the two extreme poles of the semantic relationships of the media.

The fusion of China, I like to move the arrow of the dynamic field on the Taiji chart to the heart of one of the following laws of motion, the creation of yin and yang, the movement of metal, wood, water, fire and the earth to give rise to all evolutionary philosophical thoughts. The Taoist inaction WTO emphasizes the unity and contradiction of opposites. Confucius is indeed another gossip about the centrifugal movement, such as arrows, benevolence, justice, etiquette, wisdom, and belief in the birth of Confucianism. They are born to promise the highest degree of ethical adaptation. Unfortunately, they are usually viewed from a macro and micro perspective. Analysis of the problem. I don’t really understand the picture of the voltmeter of Tai Chi Bagua, and there is no way to find the source below, nor does it explain all the real meanings of Taiji Bagua. It cannot play a huge role in science and technology.

Indian cinema has come a long way from silent era to sound, colour, masala movies and animated movies. In 1896, Lumiere Brothers screened their short films at Watson Hotel of Bombay. It was the first time when Indian audience watched the movie. Since then Indian cinema has gone through several changes and adopted latest technology.This holds more true for the last century were huge technological advancement has taken place. Today, production process of a film is completely changed. Films are produced at rapid speed with the use of latest film making technology. Indian films producedwith low budget and older technology are competing with their expensive and technologically advanced foreign counterparts. Indian cinema has continuously evolved in over last 100 years and reinvented itself to meet the latest challenges. This has given hope to the budding film makers. The study focuses on adaptation of animation and visual effects contributing to Indian Cinema narrative combininglive motion picture with computer generated imagery.

Joyce, William. The Fantastic Flying Books of Morris Lessmore. Shreveport, LA: Moonbot Books, 2011. iPad app. It seems strange that a story that expresses such love towards books as physical objects was first produced as an award-winning animated short film, and then adapted into an “interactive narrative experience” for the iPad. The protagonist, Morris Lessmore, is transported via hurricane to another land where he encounters a young woman held aloft by a flock of anthropomorphized flying books. One book leads him to a house full of more books, where he ends up living. He takes care of the books, and lends them to drab, black-and-white people who bloom into full colour (à la Wizard of Oz) as soon as they receive their reading material. Finally, as an old man, he is whisked away by the books, and the book that he wrote is used to draw a young girl into the house to take over his role as caretaker.It is usually the fate of new media to be unfavourably compared to more established media forms, but in this case, Morris Lessmore also suffers from being an adaptation rather than an original work. This iPad version seems uncomfortably caught between the fluidity and liveliness of the original animated film and the sequential narrative of a traditional picture book. Like a video game adaptation of a major motion picture in which the player re-enacts a simple replay of the movie plot, many of the interactive features of this book app seem contrived, acting as tacked-on gimmicks rather than being truly integrated with the story as a unique experience. However, that does not mean that the narrative experience is entirely without merit. The animation (taken directly from the film) looks amazing on the iPad’s vibrant screen, and finding the hidden “Easter eggs” on each page is quite entertaining for all ages. Moonbot Studios also gets extra credit for its inventive use of the iPad’s touch interface - readers will enjoy swiping, coloring, dragging, and even playing the piano on the screen, even if these activities are sometimes tangential to the narrative itself. Despite its shortcomings, Morris Lessmore stands out as exceptional in comparison to other picture book apps currently available for the iPad. As a final incentive, it is very reasonably priced; for only $4.99 at the iTunes Store, the app is much less than your average print picture book (although there’s not much chance of finding it at your local library).Recommended: 3 out of 4 starsReviewer: Dale StorieDale Storie is Public Services Librarian at the John W. Scott Health Sciences Library at the University of Alberta. He has a BA in English, and has also worked in a public library as a children's programming coordinator, where he was involved with story times, puppet shows, and book talks.

In partitioned industries, a small number of generalist organizations occupy the center of the market, whereas a much larger number of specialists populate the periphery. The role of collaborations within and across the center-periphery boundary in these industries has been underexplored. We propose that hybrid collaborations between organizations in the center and periphery—combining the broad resource base of generalists with the focused knowledge of specialists—encourage product innovation and result in enhanced organizational adaptation for both populations. We test these ideas in the U.S. motion picture industry, where film production companies face significant unpredictability of success and fluctuating audience tastes. We find that generalist and specialist production companies that partner to produce films introduce more creative content in their films compared with those that collaborate in the same population or produce alone. Generalist film companies benefit further from these collaborations through increased competitive differentiation of their films from other generalists in subsequent productions, whereas specialists experience lower exit rates. These findings suggest that interorganizational collaborations between generalists and specialists provide effective adaptive strategies to compete in markets with uncertain demand and shifting audience preferences. These strategies can sustain, rather than weaken, industry partitioning.

The article is devoted to topical problems of translation of modern English-language film discourse (based on the TV series "The Big Bang Theory"). Stylistic features of English-language film discourse are characterized. It is noted that the language of English-language film discourse has certain features and directions for certain categories of speakers and recipients. In the course of the analysis of English-language film discourse, a direct relationship between the degree of complexity of the selected language tools and socio-cultural specific features of the target audience is proved. The irony is a move to challenge norms, rules, common sense. It easily turns into a paradox and a joke. Comparisons of two or more textual worlds, styles, paradoxical comparisons, quotations, parodies lead to endless possibilities for variations in the understanding of ironic means. Socio-cultural linguistic elements that complicate film translation include realities (non-equivalent vocabulary), proper names, idiomatic expressions and jargon, dialect and variant features, humor. Non-linguistic features of the socio-cultural character contained in the visual and sound plans of a motion picture can also affect translation. At the same time, empirical studies of the application and methods of film translation testify to the existence of specific operational rules, that is, the patterns of behavior of the translator in some sociocultural situation – the situation of translation for film screening. Thus, the conducted study shows that "film discourse" is a "broader concept than cinema text” and “film dialogue”, which includes various correlations with other fields of science, such as literature, theater, art, etc. In addition, it is in the cinema discourse that the final interpretation of sen sous, embedded in the movie. In this case, cinema text is a fragment of cinema discourse and includes two heterogeneous semiotic systems: linguistic and non-linguistic, the film dialogue appears as the linguistic component of the film. Therefore, the audiovisual images operated by cinema become an indispensable element of the new discourse of modernity, which is the source of social, cultural, psychological as well as linguistic knowledge. This is why book adaptations are so popular because they save time and effort. However, as a result of a comparative lexical stylistic analysis of the book and its TV version, it was found that the number of lexical means and stylistic figures in the literary work is much greater and striking in its diversity, especially when it comes to descriptions. In the film, the language becomes poorer because dialogic speech is a predominantly spoken-and-everyday style characterized by general vocabulary and changes in the syntactic structure of sentences. The sentences in the movie are usually simple, not complex, full of exclamations and pauses and easy to hear. Film discourse should be understood as the process of play and perception of a film, the meaning of which is the mutual influence of several semiotic systems. Cinema discourse involves participants in the discourse, time and space of their interaction. The main difficulty in translatable movie text is the possibility and degree of adaptation of the text to a foreign language culture, built on a different system of values and concepts, and this factor causes the inevitable loss in the perception of translatable cinema with other subjects and / or incompatible with other linguistic culture failures of a large number of films.

The Motion Picture Production Code of 1930 banned homosexuality from the screen. This paper uses two films as a case study of the Code's impact on Hollywood's depiction of homosexuality. Both These Three (1936) and The Children's Hour (1961) were adaptations of Lillian Hellman's play in which two single female teachers have their lives ruined by a lie that the women were lesbians. With the first the Code's impact was pervasive. The PCA dictated that the accusations of lesbianism be omitted. By the 1960s, the PCA was relaxing its ban so a film could be made that retained the play's lesbian content. This paper argues that the Production Code was Hollywood's means of enforcing heterosexuality and that, even in the era when the Code's influence was waning, the necessity of maintaining heterosexuality as society's norm still governed how movies (mis)represented the lives of queer people.

AbstractPerson Recognition based on Gait Model (PRGM) and motion features is are indeed a challenging and novel task due to their usages and to the critical issues of human pose variation, human body occlusion, camera view variation, etc. In this project, a deep convolution neural network (CNN) was modified and adapted for person recognition with Image Augmentation (IA) technique depending on gait features. Adaptation aims to get best values for CNN parameters to get best CNN model. In Addition to the CNN parameters Adaptation, the design of CNN model itself was adapted to get best model structure; Adaptation in the design was affected the type, the number of layers in CNN and normalization between them. After choosing best parameters and best design, Image augmentation was used to increase the size of train dataset with many copies of the image to boost the number of different images that will be used to train Deep learning algorithms. The tests were achieved using known dataset (Market dataset). The dataset contains sequential pictures of people in different gait status. The image in CNN model as matrix is extracted to many images or matrices by the convolution, so dataset size may be bigger by hundred times to make the problem a big data issue. In this project, results show that adaptation has improved the accuracy of person recognition using gait model comparing to model without adaptation. In addition, dataset contains images of person carrying things. IA technique improved the model to be robust to some variations such as image dimensions (quality and resolution), rotations and carried things by persons. Results for 200 persons recognition, validation accuracy was about 82% without IA and 96.23 with IA. For 800 persons recognition, validation accuracy was 93.62% without IA.

IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are discursively framed as possessing the cultural capital associated with auterist cinema, despite their participation in the marketing logics of media franchising (Johnson). Adaptation theorist Linda Hutcheon proposes that when audiences receive literary adaptations, their pleasure inheres in a mixture of “repetition and difference”, “familiarity and novelty” (114). The difference can take many forms, but may be framed as guaranteed by the “distinction”, or—in Bourdieu’s terms—the cultural capital, of talented individuals and companies. Gerard Genette (Palimpsests) argued that “proximations” or updatings of classic literature involve acknowledging historical shifts in ideological norms as well as aesthetic techniques and tastes. When literary brands are made over using different media, there are economic lures to participation in currently fashionable technologies, as well as current political values. Linda Hutcheon also underlines the pragmatic constraints on the re-imagining of literary brands. “Expensive collaborative art forms” (87) such as films and large stage productions look for safe bets, seeking properties that have the potential to increase the audience for their franchise. Thus the marketplace influences both production and the experience of audiences. While this paper does not attempt a thoroughgoing analysis of audience reception appropriate to a fan studies approach, it borrows concepts from Matt Hills’s theorisation of marketing communication associated with screen “makeovers”. It shows that literary fiction and cinematic texts associated with celebrated authors or auteurist producer-directors share branding discourses characteristic of contemporary consumer culture. Strategies include marketing “reveals” of transformed content (Hills 319). Transformed content is presented not only as demonstrating originality and novelty; these promotional paratexts also perform displays of cultural capital on the part of production teams or of auteurist creatives (321). Case Study 1: Steven Spielberg, The Adventures of Tintin (2011) The Adventures of Tintin: The Secret of the Unicorn is itself an adaptation of a literary brand that reimagines earlier transmedia genres. According to Spielberg’s biographer, the Tintin series of bandes dessinée (comics or graphic novels) by Belgian artist Hergé (Georges Remi), has affinities with “boys’ adventure yarns” referencing and paying homage to the “silent filmmaking and the movie serials of the 1930s and ‘40s” (McBride 530). The three comics adapted by Spielberg belong to the more escapist and less “political” phase of Hergé’s career (531). As a fast-paced action movie, building to a dramatic and spectacular closure, the major plot lines of Spielberg’s film centre on Tintin’s search for clues to the secret of a model ship he buys at a street market. Teaming up with an alcoholic sea captain, Tintin solves the mystery while bullying Captain Haddock into regaining his sobriety, his family seat, and his eagerness to partner in further heroic adventures. Spielberg’s industry stature allowed him the autonomy to combine the commercial motivations of contemporary “tentpole” cinema adaptations with aspirations towards personal reputation as an auteurist director. Many of the promotional paratexts associated with the film stress the aesthetic distinction of the director’s practice alongside the blockbuster spectacle of an action film. Reinventing the Literary Brand as FranchiseComic books constitute the “mother lode of franchises” (Balio 26) in a industry that has become increasingly global and risk-adverse (see also Burke). The fan base for comic book movies is substantial and studios pre-promote their investments at events such as the four-day Comic-Con festival held annually in San Diego (Balio 26). Described as “tentpole” films, these adaptations—often of superhero genres—are considered conservative investments by the Hollywood studios because they “constitute media events; […] lend themselves to promotional tie-ins”; are “easy sells in world markets and […] have the ability to spin off sequels to create a franchise” (Balio 26). However, Spielberg chose to adapt a brand little known in the primary market (the US), thus lacking the huge fan-based to which pre-release promotional paratexts might normally be targeted. While this might seem a risky undertaking, it does reflect “changed industry realities” that seek to leverage important international markets (McBride 531). As a producer Spielberg pursued his own strategies to minimise economic risk while allowing him creative choices. This facilitated the pursuit of professional reputation alongside commercial success. The dual release of both War Horse and Tintin exemplify the director-producer’s career practice of bracketing an “entertainment” film with a “more serious work” (McBride 530). The Adventures of Tintin was promoted largely as technical tour de force and spectacle. Conversely War Horse—also adapted from a children’s text—was conceived as a heritage/nostalgia film, marked with the attention to period detail and lyric cinematography of what Matt Hills describes as “aestheticized fiction”. Nevertheless, promotional paratexts stress the discourse of auteurist transformation even in the case of the designedly more commercial Tintin film, as I discuss further below. These pre-release promotions emphasise Spielberg’s “painterly” directorial hand, as well as the professional partnership with Peter Jackson that enabled cutting edge innovation in animation. As McBride explains, the “dual release of the two films in the US was an unusual marketing move” seemingly designed to “showcase Spielberg’s artistic versatility” (McBride 530).Promotional Paratexts and Pre-Recruitment of FansAs Jonathan Gray and Jason Mittell have explained, marketing paratexts predate screen adaptations (Gray; Mittell). As part of the commercial logic of franchise development, selective release of information about a literary brand’s transformation are designed to bring fans of the “original,” or of genre communities such as fantasy or comics audiences, on board with the adaptation. Analysing Steven Moffat’s revelations about the process of adapting and creating a modern TV series from Conan Doyle’s canon (Sherlock), Matt Hills draws attention to the focus on the literary, rather than the many screen reinventions. Moffat’s focus on his childhood passion for the Holmes stories thus grounds the team’s adaptation in a period prior to any “knowledge of rival adaptations […] and any detailed awareness of canon” (326). Spielberg (unlike Jackson) denied any such childhood affective investment, claiming to have been unaware of the similarities between Raiders of the Lost Ark (1981) and the Tintin series until alerted by a French reviewer of Raiders (McBride 530). In discussing the paradoxical fidelity of his and Jackson’s reimagining of Tintin, Spielberg performed homage to the literary brand while emphasising the aesthetic limitations within the canon of prior adaptations:‘We want Tintin’s adventures to have the reality of a live-action film’, Spielberg explained during preproduction, ‘and yet Peter and I felt that shooting them in a traditional live-action format would simply not honor the distinctive look of the characters and world that Hergé created. Hergé’s characters have been reborn as living beings, expressing emotion and a soul that goes far beyond anything we’ve been able to create with computer-animated characters.’ (McBride 531)In these “reveals”, the discourse positions Spielberg and Jackson as both fans and auteurs, demonstrating affective investment in Hergé’s concepts and world-building while displaying the ingenuity of the partners as cinematic innovators.The Branded Reveal of Transformed ContentAccording to Hills, “quality TV drama” no less than “makeover TV,” is subject to branding practices such as the “reveal” of innovations attributed to creative professionals. Marketing paratexts discursively frame the “professional and creative distinction” of the teams that share and expand the narrative universe of the show’s screen or literary precursors (319–20). Distinction here refers to the cultural capital of the creative teams, as well as to the essential differences between what adaptation theorists refer to as the “hypotext” (source/original) and “hypertext” (adaptation) (Genette Paratexts; Hutcheon). The adaptation’s individualism is fore-grounded, as are the rights of creative teams to inherit, transform, and add richness to the textual universe of the precursor texts. Spielberg denied the “anxiety of influence” (Bloom) linking Tintin and Raiders, though he is reported to have enthusiastically acknowledged the similarities once alerted to them. Nevertheless, Spielberg first optioned Hergé’s series only two years later (1983). Paratexts “reveal” Hergé’s passing of the mantle from author to director, quoting his: “ ‘Yes, I think this guy can make this film. Of course it will not be my Tintin, but it can be a great Tintin’” (McBride 531).Promotional reveals in preproduction show both Spielberg and Jackson performing mutually admiring displays of distinction. Much of this is focused on the choice of motion capture animation, involving attachment of motion sensors to an actor’s body during performance, permitting mapping of realistic motion onto the animated figure. While Spielberg paid tribute to Jackson’s industry pre-eminence in this technical field, the discourse also underlines Spielberg’s own status as auteur. He claimed that Tintin allowed him to feel more like a painter than any prior film. Jackson also underlines the theme of direct imaginative control:The process of operating the small motion-capture virtual camera […] enabled Spielberg to return to the simplicity and fluidity of his 8mm amateur films […] [The small motion-capture camera] enabled Spielberg to put himself literally in the spaces occupied by the actors […] He could walk around with them […] and improvise movements for a film Jackson said they decided should have a handheld feel as much as possible […] All the production was from the imagination right to the computer. (McBride 532)Along with cinematic innovation, pre-release promotions thus rehearse the imaginative pre-eminence of Spielberg’s vision, alongside Jackson and his WETA company’s fantasy credentials, their reputation for meticulous detail, and their innovation in the use of performance capture in live-action features. This rehearsal of professional capital showcases the difference and superiority of The Adventures of Tintin to previous animated adaptations.Case Study 2: Andrew Motion: Silver, Return to Treasure Island (2012)At first glance, literary fiction would seem to be a far-cry from the commercial logics of tentpole cinema. The first work of pure fiction by a former Poet Laureate of Great Britain, updating a children’s classic, Silver: Return to Treasure Island signals itself as an exemplar of quality fiction. Yet the commercial logics of the publishing industry, no less than other media franchises, routinise practices such as author interviews at bookshop visits and festivals, generating paratexts that serve its promotional cycle. Motion’s choice of this classic for adaptation is a step further towards a popular readership than his poetry—or the memoirs, literary criticism, or creative non-fiction (“fabricated” or speculative biographies) (see Mars-Jones)—that constitute his earlier prose output. Treasure Island’s cultural status as boy’s adventure, its exotic setting, its dramatic characters long available in the public domain through earlier screen adaptations, make it a shrewd choice for appropriation in the niche market of literary fiction. Michael Cathcart’s introduction to his ABC Radio National interview with the author hones in on this:Treasure Island is one of those books that you feel as if you’ve read, event if you haven’t. Long John Silver, young Jim Hawkins, Blind Pew, Israel Hands […], these are people who stalk our collective unconscious, and they’re back. (Cathcart)Motion agrees with Cathcart that Treasure Island constitutes literary and common cultural heritage. In both interviews I analyse in the discussion here, Motion states that he “absorbed” the book, “almost by osmosis” as a child, yet returned to it with the mature, critical, evaluative appreciation of the young adult and budding poet (Darragh 27). Stevenson’s original is a “bloody good book”; the implication is that it would not otherwise have met the standards of a literary doyen, possessing a deep knowledge of, and affect for, the canon of English literature. Commercial Logic and Cultural UpdatingSilver is an unauthorised sequel—in Genette’s taxonomy, a “continuation”. However, in promotional interviews on the book and broadcast circuit, Motion claimed a kind of license from the practice of Stevenson, a fellow writer. Stevenson himself notes that a significant portion of the “bar silver” remained on the island, leaving room for a sequel to be generated. In Silver, Jim, the son of Stevenson’s Jim Hawkins, and Natty, daughter of Long John Silver and the “woman of colour”, take off to complete and confront the consequences of their parents’ adventures. In interviews, Motion identifies structural gaps in the precursor text that are discursively positioned to demand completion from, in effect, Stevenson’s literary heir: [Stevenson] was a person who was interested in sequels himself, indeed he wrote a sequel to Kidnapped [which is] proof he was interested in these things. (Cathcart)He does leave lots of doors and windows open at the end of Treasure Island […] perhaps most bewitchingly for me, as the Hispaniola sails away, they leave behind three maroons. So what happened to them? (Darragh)These promotional paratexts drop references to Great Expectations, Heart of Darkness, Lord of the Flies, Wild Sargasso Sea, the plays of Shakespeare and Tom Stoppard, the poetry of Auden and John Clare, and Stevenson’s own “self-conscious” sources: Defoe, Marryat. Discursively, they evidence “double coding” (Hills) as both homage for the canon and the literary “brand” of Stevenson’s popular original, while implicated in the commercial logic of the book industry’s marketing practices.Displays of DistinctionMotion’s interview with Sarah Darragh, for the National Association of Teachers of English, performs the role of man of letters; Motion “professes” and embodies the expertise to speak authoritatively on literature, its criticism, and its teaching. Literature in general, and Silver in particular, he claims, is not “just polemic”, that is “not how it works”, but it does has the ability to recruit readers to moral perspectives, to convey “ new ideas[s] of the self.” Silver’s distinction from Treasure Island lies in its ability to position “deep” readers to develop what is often labelled “theory of mind” (Wolf and Barzillai): “what good literature does, whether you know it or not, is to allow you to be someone else for a bit,” giving us “imaginative projection into another person’s experience” (Darragh 29). A discourse of difference and superiority is also associated with the transformed “brand.” Motion is emphatic that Silver is not a children’s book—“I wouldn’t know how to do that” (Darragh 28)—a “lesser” genre in canonical hierarchies. It is a writerly and morally purposeful fiction, “haunted” by greats of the canon and grounded in expertise in philosophical and literary heritage. In addition, he stresses the embedded seriousness of his reinvention: it is “about how to be a modern person and about greed and imperialism” (Darragh 27), as well as a deliberatively transformed artefact:The road to literary damnation is […] paved with bad sequels and prequels, and the reason that they fail […] is that they take the original on at its own game too precisely […] so I thought, casting my mind around those that work [such as] Tom Stoppard’s play Rosencrantz and Guildenstern are Dead […] or Jean Rhys’ wonderful novel Wide Sargasso Sea which is about the first Mrs Rochester in Jane Eyre […] that if I took a big step away from the original book I would solve this problem of competing with something I was likely to lose in competition with and to create something that was a sort of homage […] towards it, but that stood at a significant distance from it […]. (Cathcart) Motion thus rehearses homage and humility, while implicitly defending the transformative imagination of his “sequel” against the practice of lesser, failed, clonings.Motion’s narrative expansion of Stevenson’s fictional universe is an example of “overwriting continuity” established by his predecessor, and thus allowing him to make “meaningful claims to creative and professional distinction” while demonstrating his own “creative viewpoint” (Hills 320). The novel boldly recapitulates incidental details, settings, and dramatic embedded character-narrations from Treasure Island. Distinctively, though, its opening sequence is a paean to romantic sensibility in the tradition of Wordsworth’s The Prelude (1799–1850).The Branded Reveal of Transformed ContentSilver’s paratexts discursively construct its transformation and, by implication, improvement, from Stevenson’s original. Motion reveals the sequel’s change of zeitgeist, its ideological complexity and proximity to contemporary environmental and postcolonial values. These are represented through the superior perspective of romanticism and the scientific lens on the natural world:Treasure Island is a pre-Enlightenment story, it is pre-French Revolution, it’s the bad old world […] where people have a different ideas of democracy […] Also […] Jim is beginning to be aware of nature in a new way […] [The romantic poet, John Clare] was publishing in the 1820s but a child in the early 1800s, I rather had him in mind for Jim as somebody who was seeing the world in the same sort of way […] paying attention to the little things in nature, and feeling a sort of kinship with the natural world that we of course want to put an environmental spin on these days, but [at] the beginning of the 1800s was a new and important thing, a romantic preoccupation. (Cathcart)Motion’s allusion to Wild Sargasso Sea discursively appropriates Rhys’s feminist and postcolonial reimagination of Rochester’s creole wife, to validate his portrayal of Long John Silver’s wife, the “woman of colour.” As Christian Moraru has shown, this rewriting of race is part of a book industry trend in contemporary American adaptations of nineteenth-century texts. Interviews position readers of Silver to receive the novel in terms of increased moral complexity, sharing its awareness of the evils of slavery and violence silenced in prior adaptations.Two streams of influence [come] out of Treasure Island […] one is Pirates of the Caribbean and all that jolly jape type stuff, pirates who are essentially comic [or pantomime] characters […] And the other stream, which is the other face of Long John Silver in the original is a real menace […] What we are talking about is Somalia. Piracy is essentially a profoundly serious and repellent thing […]. (Cathcart)Motion’s transformation of Treasure Island, thus, improves on Stevenson by taking some of the menace that is “latent in the original”, yet downplayed by the genre reinvented as “jolly jape” or “gorefest.” In contrast, Silver is “a book about serious things” (Cathcart), about “greed and imperialism” and “how to be a modern person,” ideologically reconstructed as “philosophical history” by a consummate man of letters (Darragh).ConclusionWhen iconic literary brands are reimagined across media, genres and modes, creative professionals frequently need to balance various affective and commercial investments in the precursor text or property. Updatings of classic texts require interpretation and the negotiation of subtle changes in values that have occurred since the creation of the “original.” Producers in risk-averse industries such as screen and publishing media practice a certain pragmatism to ensure that fans’ nostalgia for a popular brand is not too violently scandalised, while taking care to reproduce currently popular technologies and generic conventions in the interest of maximising audience. As my analysis shows, promotional circuits associated with “quality” fiction and cinema mirror the commercial logics associated with less valorised genres. Promotional paratexts reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. Paying lip-service the sophisticated reading practices of contemporary fans of both cinema and literary fiction, their discourse shows the conflicting impulses to homage, critique, originality, and recruitment of audiences.ReferencesBalio, Tino. Hollywood in the New Millennium. London: Palgrave Macmillan/British Film Institute, 2013.Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. 2nd ed. Oxford: Oxford UP, 1997.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge, MA: Harvard UP, 1987. Burke, Liam. The Comic Book Film Adaptation: Exploring Modern Hollywood's Leading Genre. Jackson, MS: UP of Mississippi, 2015. Cathcart, Michael (Interviewer). Andrew Motion's Silver: Return to Treasure Island. 2013. Transcript of Radio Interview. Prod. Kate Evans. 26 Jan. 2013. 10 Apr. 2013 ‹http://www.abc.net.au/radionational/booksplus/silver/4293244#transcript›.Darragh, Sarah. "In Conversation with Andrew Motion." 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