Janet Frame's work is notorious for the demands it makes on reader and critic. This collection of nine new essays by international Frame specialists draws on a range of critical frameworks to explore fresh ways of looking at Frame's fiction, poetry, and autobiography. At the same time, the essays plug into the energy of Frame's work to challenge our thinking within and beyond these frameworks. "Frameworks" offers a unique perspective on Frame studies today, showcasing its major concerns as well as heralding new Frame narratives for the decade ahead. Mindful of preceding Frame criticism, these essays use their contemporary vantage-point to recast seminal questions about the relationship between Janet Frame's work and its critical contexts. Each of the essays makes a case for framing her work in a particular way, but all are characterized by self-reflexivity regarding their own critical practice and the relationship they assume between exegetical framework and Frame's work. Underlying this practice, and contained within the pun of the title, are the elementary-sounding yet fundamental questions of Frame studies: How does Frame's work "work"? And how do we work with her work?

This book explores "Making of" sites as a genre of cultural artefact. Moving beyond "making-of" documentaries, the book analyses novels, drama, film, museum exhibitions and popular studies that re-present the making of culturally loaded film adaptations. It argues that the "Making of" genre operates on an adaptive spectrum, orienting towards and enacting the adaptation of films and their making. The book examines the behaviours that characterise "Making of" sites across visual media; it explores the cultural work done by these sites, why recognition of "Making of" sites as adaptations matters, and why our conception of adaptation matters. Part one focuses on the adaptive domain presented by the "Making of" John Ford's The Quiet Man. Part two attends to "Making of" Gone with the Wind sites, and concludes with "Making of" The Lord of the Rings texts as the acme of the cultural risks and investments charted in earlier chapters.

This book explores "Making of" sites as a genre of cultural artefact. Moving beyond "making-of" documentaries, the book analyses novels, drama, film, museum exhibitions and popular studies that re-present the making of culturally loaded film adaptations. It argues that the "Making of" genre operates on an adaptive spectrum, orienting towards and enacting the adaptation of films and their making. The book examines the behaviours that characterise "Making of" sites across visual media; it explores the cultural work done by these sites, why recognition of "Making of" sites as adaptations matters, and why our conception of adaptation matters. Part one focuses on the adaptive domain presented by the "Making of" John Ford's The Quiet Man. Part two attends to "Making of" Gone with the Wind sites, and concludes with "Making of" The Lord of the Rings texts as the acme of the cultural risks and investments charted in earlier chapters.