This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars-and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.

A stunning book exploring the art of Sergio Pablos' animated Christmas original, Klaus. A young, lowly Scandinavian postman named Jesper gets the chance to make his mark when he's tasked with bringing the postal service to a contentious village in the cold north, where he meets a mysterious, white-bearded toymaker named Klaus.

Why do so many writers and audiences turn to theatre to resolve overwhelming topics of pain and suffering? This collection of essays from international scholars reconsiders how theatre has played a crucial part in encompassing and preserving significant human experiences. Plays about global issues, including terrorism and war, are increasing in attention from playwrights, scholars, critics and audiences. In this contemporary collection, a gathering of diverse contributors explain theatre's special ability to generate dialogue and promote healing when dealing with human tragedy. This collection discusses over 30 international plays and case studies from different time periods, all set in a backdrop of war. The four sections document British and American perspectives on theatres of war, global perspectives on theatres of war, perspectives on Black Watch and, finally, perspectives on The Great Game: Afghanistan. Through this, a range of international scholars from different disciplines imaginatively rethink theatre's unique ability to mediate the impacts and experiences of war. Featuring contributions from a variety of perspectives, this book provides a wealth of revealing insights into why authors and audiences have always turned to the unique medium of theatre to make sense of war.

Before there was "Glee "or "American Idol, "there was Stagedoor Manor, a theater camp in the Catskills where big-time Hollywood casting directors came to find the next generation of stars. It's where Natalie Portman, Robert Downey, Jr., Zach Braff, Mandy Moore, Lea Michele, and many others got their start as kids. At age thirty-one, Mickey Rapkin, a senior editor at "GQ "and self-proclaimed theater geek, was lucky enough to go, too, when he followed three determined teen actors through the rivalries, heartbreak, and triumphs of a summer at Stagedoor Manor.
Every summer since 1975, a new crop of campers has entered Stagedoor Manor to begin an intense, often wrenching introduction to professional theater. The offspring of Hollywood players like Ron Howard, Nora Ephron, and Bruce Willis work alongside kids on scholarship. Some campers have agents, others are just beginning. The faculty--all seasoned professionals--demand adult-size dedication and performances from the kids. Add in talent scouts from Disney and Paradigm and you have an intense, exciting environment where some thrive and others fail. Eye-opening, funny, and full of drama and heart, "Theater Geek "offers an illuminating romp through the world of serious child actors.

What is the legacy of Martha Graham and why does it endure? How and why did the philosophy and subsequent canon of Martha Graham flood out into an artistic diaspora that is still a wellspring of inspiration for contemporary artists? How do dancers that have never studied with, or worked under, Martha Graham maintain her vision? All of these questions, and many more, are considered in this fascinating book, authored by one of the Martha Graham Company's ex-principal dancers, which illuminates the ongoing significance of the Martha Graham Dance Company almost 100 years after it was founded. Through doing so, we are offered a study of the history of the Martha Graham Dance Company - the longest-standing modern dance company in America, its international diaspora and the current generation of dancers taking up the mantel. Drawing on extensive interviews conducted for the book, the company's story is told through the experiences, inspirations, motivations and words of performers from Graham's iconic artistic lineage.

Delmer Daves (1904-1977) was an American screenwriter, director, and producer known for his dramas and Western adventures, most notably Broken Arrow and 3:10 to Yuma. Despite the popularity of his films, there has been little serious examination of Daves's work. Filmmaker Bertrand Tavernier has called Daves the most forgotten of American directors, and to date no scholarly monograph has focused on his work. In The Films of Delmer Daves: Visions of Progress in Mid-Twentieth-Century America, author Douglas Horlock contends that the director's work warrants sustained scholarly attention. Examining all of Daves's films, as well as his screenplays, scripts that were not filmed, and personal papers, Horlock argues that Daves was a serious, distinctive, and enlightened filmmaker whose work confronts the general conservatism of Hollywood in the mid-twentieth century. Horlock considers Daves's films through the lenses of political and social values, race and civil rights, and gender and sexuality. Ultimately, Horlock suggests that Daves's work-through its examination of bigotry and irrational fear and depiction of institutional and personal morality and freedom-presents a consistent, innovative, and progressive vision of America.