The Tenth Annual Association of Adaptation Studies Conference

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the association of adaptation studies

The Tenth Annual Association of Adaptation Studies Conference
Welcome to the tenth annual conference of the Association of Adaptation Studies. It is exciting to be back in London after a very successful event at the BFI. We like to travel around, and so far the conference has been held in the UK (four times), the USA (twice), Germany, the Netherlands, Sweden and Turkey.
The Association of Adaptation Studies (formerly the Association for Literature on Screen) was founded in 2005 and had its first conference in 2006 in Leicester.

The purpose of the Association is to promote the study of adaptations across educational institutions and countries, being the study of the adaptation of literature to film, film to literature and transmedia adaptations across different disciplines and educational sectors.

The Association became a registered UK Charity in 2010, by which time a journal - Adaptation - had been established with Oxford University Press in 2008. The Association and the journal retain a close relationship and the journal’s annual student essay prize promotes the work of emerging researchers in the field. The conference is now a well-established feature on the academic calendar and is popular with those whose interests are inter- and cross-disciplinary. There are a growing band of conference stalwarts but also a steady wave of new members: one thing we all agree on is that the range and standard of papers presented every year make it a highly valuable event
The founding Chair of the Association, Professor Deborah Cartmell, has worked tirelessly to maintain the momentum of the Association. Her contributions to the work of the Association are many and varied, from taking a lead role in the coordination of each conference, to setting up the journal, to obtaining grant funding while the Association was still in its infancy. She continues today as Treasurer; and as Director of the Centre for Adaptations at De Montfort University she provides a genuine hub for adaptation studies in the UK. At this tenth conference it seems appropriate to mark our gratitude to her.
Thanks are due, to Association Secretary Jamie Sherry who has taken a lead role in organizing this event and supporting our communications over the past year. Kyle Meikle has helped us update the website and Anna Blackwell maintains our membership records. Finally, we would like to thank all the Trustees for their support and contributions to the Association over the years and to OUP for such a successful and high impact journal.
We hope to meet most of you over the course of the conference and if you enjoy it, we urge you to stay in touch, support us with your membership, a subscription to the journal and by sharing your research with us at these highly enjoyable annual gatherings.
Very best wishes,
Jeremy Strong and Imelda Whelehan
(Co-Chairs, The Association for Adaptation Studies)


Jon Millington, Events Manager, University of London, School of Advanced Study, Senate House, Malet Street, London WC1E 7HU

Tel. +44 (0)20 7664 4859 | Email: | Web:
The School of Advanced Study is part of the central University of London. The School takes its responsibility to visitors with special needs very seriously and will endeavour to make reasonable adjustments to its facilities in order to accommodate the needs of such visitors. If you have a particular requirement, please feel free to discuss it confidentially with the Events Manager in advance of the event taking place.
All conference sessions will be held in Senate House, University of London, Malet Street WC1E 7HU.  Please look out for directional signs.  We will be using the following rooms:

Thursday 24 September:
Bedford Room G37: ground floor

Chancellor’s Hall, Grand Lobby & Senate Room: 1st floor

Room 349: 3rd floor
Friday 25 September:
Beveridge Hall, Macmillan Hall, Bloomsbury Room G35, Bedford Room G37: ground floor

Senate Room: 1st floor

Room 349: 3rd floor


Wifi is available throughout the building via the network UoL Conferences. The password changes each day and can be obtained from the main reception desk. Alternatively, you may use Eduroam if you are enabled to do so through your home institution.

Local Information:

Underground: Nearest stations: Russell Square (Piccadilly Line) or Goodge Street (Northern Line).  Also within walking distance: Euston Square, Euston, Holborn, Tottenham Court Road, Warren Street, Portland Place, King’s Cross.
Overground: National rail links within walking distance: Euston, King’s Cross, and the international Eurostar terminal at St. Pancras. The other London mainline stations are a short taxi or Tube ride away.
Bus routes: Russell Square / Woburn Place: 7, 59, 68, 91, 168, 188 | Gower Street (heading south) and Tottenham Court Road (heading north): 10, 14, 24, 29, 73, 134, 309.
Car Parking: Public car parking is not available at Senate House.  NCP parking is available at Woburn Place and Bloomsbury Place.
Transport for London: has information, maps and prices for travelling around Greater London. NB: Oyster Cards or contactless debit/credit cards give the best value for money.  Oyster Card may be topped up with cash and kept for your next visit to London.


Chancellor’s Hall 1st floor, Senate House
Grand Lobby 1st floor, Senate House
Senate Room 1st floor, Senate House
Bedford Room G37 Ground floor, Senate House
Room 349 3rd floor, Senate House
Crush Hall Ground floor, Senate House
Beveridge Hall Ground floor, Senate House
Bloomsbury Room G35 Ground floor, Senate House
Macmilllan Hall Ground floor, Senate House
Beveridge Hall Ground floor, Senate House


9.30 – 10.00: Registration and Coffee (Grand Lobby)

10.00 – 11.00: Keynote: Prof. Graham Holderness – ‘There's no place like London: Adapting Sweeney Todd’ (Chancellor’s Hall)

11.00 –11.30: Coffee (Grand Lobby)


Panel 1 (Chancellor’s Hall)
Modernity and Politics in the metropolis
(Chair: Yvonne Griggs)

1. Marta Frago, ‘The city as mirror of dreams in the new political biopic’;

2. Dwi Setiawan, ‘City, Morality, and Politicisation: An Indonesian Case’;

3. Joyce Goggin, ‘Adapting the Moneyscape: Las Vegas and the City Theme’;

4. Dave Cliffe, ‘From Wiretapper to Enemy of the State: Hacking, Technology and Genre in The Conversation and Enemy of the State’

Panel 2 (Senate Room)
Metropolitan Shakespeares
(Chair: Deborah Cartmell)

1. Amanda K. Ruud, ‘Silent Shakespeare and the Society of Spectacle’;

2. Laura Campillo Arnaiz, ‘I Can Has Cheezburger? Shakespeare Meets the Internet Memes’;

3. Clara Calvo, ‘As Seen on TV: Adapting Biography and the Documentary Tradition’;

4. Douglas Lanier, ‘Vlogging the Bard: Social Media, Serialization, Shakespeare’

Panel 3 (Bedford Room G37)
(Chair: Jonathan Bignell)

1. Homer B. Pettey, ‘The Lodger: Remapping London’;

2. Wieland Schwanebeck, ‘From London to Gagool’s Cave: James Bond’s Colonial Adventures’;

3. Rebecca Steinberger, ‘”I Predict a Riot”: London, Politics, Theatre’;

4. Eli Løfaldli ,‘”Leave the Character of Graveairs in the Country”: Eighteenth-Century London in Adaptation’

Panel 4 (Room 349)
Postmodern/modern cities
(Chair: Jeremy Strong)

1. Dario Lolli, ‘Tōkyō, Capital of Postmodernity?’;

2. Christophe Collard, ‘Refracted Remediation: Pynchon’s Brussels As Liminal Milieu’;

3. Zhu Jianxin, ‘Two Tales of One City: Constructing and Reconstructing a Cosmopolitan Shanghai’;

4. Mario Slugan, ‘Montage and Representation of the City in Phil Jutzi’s Adaptation of Berlin Alexanderplatz’

1.00 – 2.00: Lunch: Grand Lobby

2.00 – 3.30

Panel 5 (Chancellor’s Hall)
Crime Television Drama
(Chair: Imelda Whelehan)

1. Yvonne Griggs, ‘Reconfiguring Urban Landscapes: the Global Spread of Nordic Noir TV’;

2. Thomas Van Parys, ‘Seeing Person of Interest through the Prism of Adaptation’;

3. Vanessa Gerhards, ‘Unmasking Miami – How to Learn about City Branding with Dexter’;

4. Valerie Hazette, ‘A bridge between Bron/Broen and The Tunnel/Le Tunnel: Néo-noir dystopia in regionalised Europe?’

Panel 6 (Senate Room)
The Metropolis in South Asia
(Chair: Douglas Lanier)

1. Elżbieta Rokosz-Piejko‘ Indian slum life in adaptation – the literary and the theatrical Behind the Beautiful Forevers: Life, Death and Hope in a Mumbai Undercity’;

2. Melissa Croteau, ‘Mumbai, Poverty, and Secular Identity in Q & A and Slumdog Millionaire’;

3. Ana Cristina Mendes, ‘Vishal Bhardwaj’s Maqbool: Macbeth in Mumbai’;

4. Rizwan Akhtar, ‘Re-imagining Lahore as a cultural metropolis in Mira Nair’s adaptation of Mohsin’ Hamid’s The Reluctant Fundamentalist (2007)’

Panel 7 (Bedford Room G37)
Representing/challenging the city
(Chair: Katja Krebs)

1. Stephen Morgan, Can’t stand city life’: The Shiralee and Australia's urban ambivalence’;

2. Sophia Basaldua ‘Metropolis: A Postcolonial Reading of the Global City’;

3. Frans Weiser,Rereading Rio de Janeiro in Rubem Fonseca’s and Walter Salles’ A Grande Arte’;

4. David Forrest and Sue ViceMade in Sheffield: Adapting Barry Hines’ Novels’

Panel 8 (Room 349)
New York City in the frame
(Chair: R. Barton Palmer)

1. Julie Grossman, ‘The Other Side of the Streets: A Re/Sounding Adaptation of Silent Film’;

2. Rosella Simonari, ‘Martha Graham’s Lamentation and the City of New York’;

3. Eckart Voigts, ‘Recombinant Adaptations: “10 Hours Walking in NYC as a Woman” and the Role of Urban Space in Parody Remaking

3.30 – 4.00: Coffee (Grand Lobby)

4.00 – 5.30

Panel 9 (Chancellor’s Hall)
(Chair: Judith Buchanan)

1. Aristotelis Nikolaidis, ‘The Dystopian Metropolis and the State of Exception: Rethinking the Politics of Adaptation in The Children of Men’;

2. Iklim Tekin, ‘Journey of Changing Dynamics, Shaped by Fears, Anxieties, Threats of the Time, from Contemporary Sci-Fi Genre to Film Adaptations’;

3, Nicholas Ruddick, ‘Constructing the Ministry of Truth: The University of London Senate House in Orwell's Nineteen Eighty-Four and Its Film Adaptations’;

4. Elena Nistor, ‘From Minitrue to War Office: Senate House and Shades of Authority in Nineteen Eighty-Four (1984), Richard III (1995) and Nanny McPhee and The Big Bang

Panel 10 (Senate Room)
Fantasy & lives reimagined
(Chair: Deborah Cartmell)

1. Ashley Polasek, ‘Mr. Holmes and the Fictional Biopic: Creating Biography through Adaptation’;

2. Natalie Hayton, ‘Historical (Dis)enchantments: fairy tale kingdoms and domestic fantasy in three novels by Philippa Gregory’;

3. Cassandra Brummitt, ‘Paratexts of Harry Potter: the significance of adaptive spaces’;

4. Dana Vasiliu, ‘It is time to be Sherlock Holmes’: Constructing and Performing Identities in the 21st Century Metropolis‘

Panel 11 (Bedford Room G37)
Subverting Genre
(Chair: Eckart Voigts)

1. Sarah Penger, ‘The Recreation of the Gangster Genre across Media within a Serial Storyworld’;

2. Carolyn Rickards, ‘Curiouser Indeed’: Alice in Wonderland as Brit Gangland Crime Flick’;

3. Martin Regal, ‘Neil Gaiman’s Neverwhere: A Tale of Two Cities’

4. Yelda özkoçak, ‘Turkeywood “Films Are Omitted’

Panel 12 (Room 349)
Comic book Superheroes
(Chair: Joyce Goggin)

1. Jose Duarte, ‘Everything becomes chaos – Gotham as vision of the contemporary city’;

2. Anna Blackwell, ‘Saving the day? The American superhero film adaptation and the city’;

3. James Taylor, ‘Superheroes in in New York? Give Me a Break”: Representing Urban Experience in Superhero Blockbusters’

5.30 – 6.30: Conference Reception (Grand Lobby)

6.30 – CONFERENCE DINNER: Antalya Restaurant, 103-105 Southampton Row


9.00- 9.30: Registration & Coffee (Crush Hall)

9.30 – 11.00

Panel 13 (Beveridge Hall)
Penny Dreadful
(Chair: Thomas Leitch)

1. Chris Louttit, ‘Victorian London Redux: Adapting the Gothic Metropolis’;

2. Dragoş Manea, ‘An American Vampire in London: Remediating the Victorian Metropolis in Dracula and Penny Dreadful’;

3. Sinan Akıllı & Seda Öz , ‘“No More Let Life Divide...”: Victorian Metropolitan Confluence in Penny Dreadful’;

4. Lauren Rocha, ‘Angel in the House, Devil in the City: Explorations of Gender in Dracula and Penny Dreadful’

Panel 14 (Bloomsbury Room G35)
The Screenplay
(Chair: Shelley Cobb)

1. Laura Fryer, ‘Absorbing the world of others: Ruth Prawer Jhabvala’s adapted screenplays and presentations of cities’;

2. Kyle Meikle, ‘The Illustrated Screenplay’;

3. Jonathan Ogilvie, ‘The Secret Agent as Lone Wolf: Adapting Joseph Conrad’s novel as a Cineveillance screenplay’

Panel 15 (Bedford Room G37)
Games, Cities, Globalisation
(Chair: Jeremy Strong)

1. Johannes Fehrle , The Post-Apocalyptic City as Jungle in SpecOps: The Line’;

2. Nico Dicecco, Adaptive Play: Scott Pilgrim and the Pleasures of a Violent City’;

3. Andrei Nae, ‘The Town as a Reflexive Hybrid Entity in the Silent Hill Storyworld’

Panel 16 (Room 349)
Adapting City Landscapes
(Chair: Anna Blackwell)

1. Hila Shachar, You’re my playground love’: The Present and Absent City in Ana Kokkinos’s Head On and Sofia Coppola’s The Virgin Suicides’;

2. Željko Uvanović, ‘The reflection of Zagreb’s exteriors and interiors as well as of centre and periphery of the urban life as seen in selected adaptations of Croatian literature’;

3. Matthew Richardson, ‘Marooned in the future-present: A speculative adaptation of J.G. Ballard’s “Concrete Island” using Google Street View’;

4. Christopher Thornton, ‘Artistic License: Exploring the Limits’

11.00 – 11.30: Coffee (Macmillan Hall)

11.30 – 12.30: A Reunion: Screenwriter Andrew Davies and Former Head of BBC Drama, Jonathan Powell in Conversation

(Beveridge Hall)

12.30—1.30: Lunch (Macmillan Hall)

1.30 – 3.00

Panel 17 (Beveridge Hall)
Theorising the Metropolis
(Chair: Kamilla Elliot)

1. Casie Hermansson, ‘Ungrammaticality and the Uncanny in Adaptation’;

2. Marcus Nicholls, ‘Adaptation as Mourning: Correspondences Between Modern Adaptation Theory and Themes of Object Loss and Mourning in George Rodenbachʼs Bruges-la-Morte and Le Carillonneur’;

3. Robert Geal, ‘From Barthesian and Bakhtinian to Benvenistene authorship’;

4. Thomas Leitch, ‘Mind the Gaps’

Panel 18 (Bloomsbury Room G35)
Tie-ins, reversions and parody
(Chair: Kyle Meikle)

1. Larry A. Gray, ‘BioShock and Atlas Shrugged: Ayn Rand-ed, Newly Branded’;

2. Ana Coelho, ‘(Dis)placement and fantasy in Lost in Austen’;

3. Claire Monk, ‘Dissecting Ripper Street (BBC-TV 2013–14, BBC-TV/Amazon 2015–): from Victorian East London to 21st-century global markets’

Panel 19 (Bedford Room G37)
Recreating/capturing the past

(Chair: Jeremy Strong)

1. Katja Krebs, ‘Performing the Other: Adapting the Foreign in the Metropolis’;

2. Jonathan Bignell, ‘Rings around London: Television in 1946’;

3. Vesna Dinić, ‘Architecture of Memories: Paolo Sorrentino’s La Grande Bellezza’;

4. Hui Wu, ‘A Woman and a City’

Panel 20 (Room 349)
The European City Adapted
(Chair: Joyce Goggin)

1. Laura Hatry, ‘Ruttmann’s Berlin: The Symphony of a Great City (1927) in Schadt’s Berlin Symphony (2002)’;

2. Victor Xavier Zarour Zarzar, ‘Sporadic Flashes of Beauty: Rome and the Imagination’;

3. Anna Fábián, ‘City Landmarks Shaping Shakespeare on page, on stage and on the screen’

3.00 – 3.30: Coffee (Crush Hall)

3.30 – 4.30: Final Keynote: Prof. Judith Buchanan,Real things? An intermedial conversation’ (Beveridge Hall)

4.30 – 5.00: AGM (Beveridge Hall)

Conference Abstracts

Panel 1: Modernity and Politics in the metropolis
Marta Frago, ‘The city as mirror of dreams in the new political biopic’

The aim of this paper is to analyze the link between the lives of political leaders and iconic images of cities in biographical films of the last decade. It is undeniable that Presidents, Prime Ministers, Kings or Queens have a clear connection to the cities in which they have lived during the years of their lifes or tenures. The images of these cities can operate at different levels which will be analysed in a group of titles, such as The Queen, The Iron Lady, Lincoln, Mandela, Walesa, etc. At the most superficial level, urban scenarios play the role of contextualizing the story represented in the biopic. Besides, they can also help to draw psychological traits of the leader as protagonist. Sometimes, and more interestingly, these images create associations or implicit meanings through symbols and metaphors, which connect the life of protagonists with dreams, social mores, positive or negative human values and

unspecific impressions. Finally, this paper will illustrate the way in which an urban space appears on screen in these films may provoke different emotional responses on viewers in relation to well-known places and people, such as curiosity, nostalgia, and positive or negative reactions towards progress and the change of times.
Dwi Setiawan, ‘City, Morality, and Politicisation: An Indonesian Case’

This paper aims to discuss the representations and repressions of city in an Indonesian novel The Dancer (1982), written by Ahmad Tohari during the military era, and its post-military film adaptation with the same title by Ifa Isfansyah. The military regime tried to project the urban space as a solid, steady, and modern reality because it was a proof of the regime’s successful developmentalism. While the representation is supported by popular literature and cinema, more ‘serious’ works portray the urban space as “a site of socio-economic disjuncture and moral contradiction” (Paramadhita 500). However, in terms of re-solution, the latter are still trapped in the activisms of the middle class, which were the regime’s very concept of social improvement (Aspinall). In contrast, the post-military era’s literature and cinema tend to embrace the city and its contradictions, and this frees them from the middle class’ guilt as well as the urban poor’s radicalism. Following the realist trend of his time, Tohari’s novel portrays the city of Dawuan as a place of socio-economic tension and moral hypocrisy. The city’s middle class is negatively depicted as the source of politicisation in the neighbouring Paruk village. Nonetheless, the divided and hypocritical Dawuan is still seen as a better community than the backward and sexually immoral Paruk. The political and moral salvation for Paruk comes from the ‘apolitical’ military forces from the same city. Isfanyah’s adaptation follows the narrative of the novel regarding the city’s politicisation of the village. Yet, while showing the benevolence of the urban military, the film also shows its involvement in the destruction of the village and dis-engages it from the village’s future. The sexual immorality is associated mainly with the village but fairly suppressed in the film.

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