Where? When?

In chapter five of Huctheon's A Theory of Adaptation, Huctheon addresses how an audience, or even multiple audiences, factors in towards the perception of stories subject to adaptation. Huctheon argues that varying cultures and their interpretation of a story and its medium determine whether or not it will thrive or be sent back to the drawing board.
Huctheon displays the points of this argument through recognizing race and upbringing, molded by the culture present within the era, heavily influence an audience's experience. Huctheon supports this, declaring "the videogame adaptation of The Godfather will be experienced differently today by an Italian American player than by a Korean one." (144)
Similarly, Huctheon acknowledges both present and past cultures will alter how a story is generated. Huctheon states, "Often, a change of language is involved; almost always, there is a change of place or time period. Akira Kurosawa's Throne of blood (1957) is a famous Japanese film adaptation and major cultural transposition of Macbeth, for instance, just as The Magnificent Seven (1960) is a Hollywood remake of Kurosawa's Seven Samurai (1954). Almost always, there is an accompanying shift in the political valence from the adapted text to the 'transculturated' adaptation." (145)
Through these supporting arguments, Huctheon successfully displays how cultural values and experiences shape the overall interpretation and success of an adaptation. Huctheon summarizes by comparing cultural selection to natural selection, stating, "Natural selection is both conservative and dynamic; it involves both stabilizing and mutating ... So too with cultural selection in the form of narrative adaptation -- defined as theme and variation, repetition with modification. Also significant for the cultural adaptation of stories is the fact that '[s]election favours memes that exploit their cultural environment to their own advantage' ... each adapts to its new environment and exploits it, and the story lives on, through its 'offspring' -- the same and yet not." (167)