Hutcheon's main argument throughout the chapter is that all types of adaptations are as important as any other type or style of art. The definition of adaptation may sound simple, but in fact allows for more issues than it fixes. Many, if not most works of literary and cinematic art are adaptations. On page 10, she stresses that not only do story lines become adapted, or the media in which the work is presented becomes adapted, but themes, ideas, and elements also become adapted. The theme of quests, magic, and innocence versus evil are not original themes, but are seen again and again through time and mediums. Hutcheon also argues that fidelity is not a necessary requirement when judging the successfulness of an adaptation. On page 7, she states, "Adaptation is repetition, but repetition without replication." She believes that adaptations should pay homage, but not replicate the work that is being adapted. Adaptations should want to better alter or express the story, not continue the story so it does not end. Since most works of textual, stage, graphic, cinematic, and lyrical art are not completely original, the word "adaptations" should no longer seem derogatory.
Questions:
1. If the re-usage and re-creation of all medias-themes, expression, elements, ideas, story lines-are not original, is there such a thing as an original work?
2. Because the word "adaptation" is sometimes used as a derogatory word, but 85% of Oscar winning pictures and 70 percent of TV movies are adaptations, do you think that the general public understands what constitues a work to be an adaptation?
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