Adaptation Before Cinema highlights a range of pre-cinematic media forms, including theater, novelization, painting and illustration, transmedia art, children's media, and other literary and visual culture. The book expands the primary scholarly audience of adaptation studies from film and media scholars to literary scholars and cultural critics working across a range of historical periods, genres, forms, and media. In doing so, it underscores the creative diversity of cultural adaptation practiced before cinema came to dominate the critical conversation on adaptation. Collectively, the chapters construct critical bridges between literary history and contemporary media studies, foregrounding diverse practices of adaptation and providing a platform for innovative critical approaches to adaptation, appropriation, or transmedia storytelling popular from the Middle Ages through the invention of cinema. At the same time, they illustrate how these forms of adaptation not only influenced the cinematic adaptation industry of the twentieth century but also continue to inform adaptation practices in the twenty-first century transmedia landscape. Written by scholars with expertise in historical, literary, and cultural scholarship ranging from the medieval period through the nineteenth century, the chapters use discourses developed in contemporary adaptation studies to shed new lights on their respective historical fields, authors, and art forms.

Hurricane Katrina blasted the Gulf Coast in 2005, leaving an unparalleled trail of physical destruction. In addition to that damage, the storm wrought massive psychological and cultural trauma on Gulf Coast residents and on America as a whole. Details of the devastation were quickly reported-and misreported-by media outlets, and a slew of articles and books followed, offering a spectrum of socio-political commentaries and analyses. But beyond the reportage and the commentary, a series of fictional and creative accounts of the Katrina-experience have emerged in various mediums: novels, plays, films, television shows, songs, graphic novels, collections of photographs, and works of creative non-fiction that blur the lines between reportage, memoir, and poetry. The creative outpouring brings to mind Salman Rushdie's observation that, "Man is the storytelling animal, the only creature on earth that tells itself stories to understand what kind of creature it is." This book accepts the urge behind Rushdie's formula: humans tell stories in order to understand ourselves, our world, and our place in it. Indeed, the creative output on Katrina represents efforts to construct a cohesive narrative out of the wreckage of a cataclysmic event. However, this book goes further than merely cataloguing the ways that Katrina narratives support Rushdie's rich claim. This collection represents a concentrated attempt to chart the effects of Katrina on our cultural identity; it seeks to not merely catalogue the trauma of the event but to explore the ways that such an event functions in and on the literature that represents it. The body of work that sprung out of Katrina offers a unique critical opportunity to better understand the genres that structure our stories and the ways stories reflect and produce culture and identity. These essays raise new questions about the representative genres themselves. The stories are efforts to represent and understand the human condition, but so are the organizing principles that communicate the stories. That is, Katrina-narratives present an opportunity to interrogate the ways that specific narrative structures inform our understanding and develop our cultural identity. This book offers a critical processing of the newly emerging and diverse canon of Katrina texts.

Hurricane Katrina blasted the Gulf Coast in 2005, leaving an unparalleled trail of physical destruction. In addition to that damage, the storm wrought massive psychological and cultural trauma on Gulf Coast residents and on America as a whole. Details of the devastation were quickly reported-and misreported-by media outlets, and a slew of articles and books followed, offering a spectrum of socio-political commentaries and analyses. But beyond the reportage and the commentary, a series of fictional and creative accounts of the Katrina-experience have emerged in various mediums: novels, plays, films, television shows, songs, graphic novels, collections of photographs, and works of creative non-fiction that blur the lines between reportage, memoir, and poetry. The creative outpouring brings to mind Salman Rushdie's observation that, "Man is the storytelling animal, the only creature on earth that tells itself stories to understand what kind of creature it is." This book accepts the urge behind Rushdie's formula: humans tell stories in order to understand ourselves, our world, and our place in it. Indeed, the creative output on Katrina represents efforts to construct a cohesive narrative out of the wreckage of a cataclysmic event. However, this book goes further than merely cataloguing the ways that Katrina narratives support Rushdie's rich claim. This collection represents a concentrated attempt to chart the effects of Katrina on our cultural identity; it seeks to not merely catalogue the trauma of the event but to explore the ways that such an event functions in and on the literature that represents it. The body of work that sprung out of Katrina offers a unique critical opportunity to better understand the genres that structure our stories and the ways stories reflect and produce culture and identity. These essays raise new questions about the representative genres themselves. The stories are efforts to represent and understand the human condition, but so are the organizing principles that communicate the stories. That is, Katrina-narratives present an opportunity to interrogate the ways that specific narrative structures inform our understanding and develop our cultural identity. This book offers a critical processing of the newly emerging and diverse canon of Katrina texts.