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It is hard to discuss the current film industry without acknowledging the impact of comic book adaptations, especially considering the blockbuster success of recent superhero movies. Yet transmedial adaptations are part of an evolution that can be traced to the turn of the last century, when comic strips such as “Little Nemo in Slumberland” and “Felix the Cat” were animated for the silver screen. Representing diverse academic fields, including technoculture, film studies, theater, feminist studies, popular culture, and queer studies, Comics and Pop Culture presents more than a dozen perspectives on this rich history and the effects of such adaptations.

Examining current debates and the questions raised by comics adaptations, including those around authorship, style, and textual fidelity, the contributors consider the topic from an array of approaches that take into account representations of sexuality, gender, and race as well as concepts of world-building and cultural appropriation in comics from Modesty Blaise to Black Panther. The result is a fascinating re-imagination of the texts that continue to push the boundaries of panel, frame, and popular culture.

An innovative approach to the relationship between filmmaking and society during Hollywood’s golden age

The 1910s and 1920s witnessed the inception of a particular brand of negotiation between filmdom and its public in the United States. Hollywood, its proponents, and its critics sought to establish new connections between audience and industry, suggesting means by which Hollywood outsiders could become insiders. Hollywood Outsiders looks at how four disparate entities—the Palmer Photoplay correspondence school of screenwriting, juvenile series fiction about youngsters involved in the film industry, film appreciation and character education programs for high school students, and Catholic and Protestant efforts to use and influence filmmaking—conceived of these connections, and thus of the relationship of Hollywood to the individual and society. Anne Morey’s exploration of the diverse discourses generated by these different conjunctions leads to a fresh and compelling interpretation of Hollywood’s place in American cultural history.

Exploring how scientists came to understand life's balance between stability and adaptation.

Life Out of Balance focuses on a period in history when new ideas of self-regulation, adaptation, and fitness became central to a variety of biological disciplines. During the decades surrounding World War II, these ideas developed in several quite different contexts and led to greater debates about the merits of such models as applied to larger systems, including society at large. Particularly in its later cybernetic form, homeostasis seemed to provide new ways of discussing balance and regulation that avoided discredited approaches of earlier champions of vitalism and mechanism. It provided a common perspective and terminology for discussing self-regulating “systems,” whether biological, mechanical, or social. Although enormously fruitful and influential, homeostatic perspectives also generated numerous controversies when critics questioned the degree to which biological systems are characterized by balance and self-regulation. Resolving these controversies continues to be a challenge in modern biology.

If natural selection constitutes the first law of biology, scientists who champion homeostasis as a theoretical model claim that it is a second law, equally important and closely related to the first. Such claims notwithstanding, homeostasis has generated a series of controversies since it was formalized by Walter Cannon in the late 1920s. Critics contended that Cannon took a too-optimistic view of life, not only ignoring pathological deviations from normality but also failing to adequately explain the ability of living things to respond adaptively to environmental challenges.

Underlying these controversies was the unresolved problem of integrating physiology and other areas of functional biology with the emerging evolutionary synthesis of Mendelian genetics and Darwinian natural selection. The physiological idea of homeostasis as the adaptive “fit” between the organism and its environment and the Darwinian idea of adaptation and fitness in terms of reproductive success might seem to be complementary in an unproblematic way, but historically they have had an uneasy relationship.
 

At last, for those who adapt literature into scripts, a how-to book that illuminates the process of creating a stageworthy play. Page to Stage describes the essential steps for constructing adaptations for any theatrical venue, from the college classroom to a professionally produced production. Acclaimed director Vincent Murphy offers students in theater, literary studies, and creative writing a clear and easy-to-use guidebook on adaptation. Its step-by-step process will be valuable to professional theater artists as well, and for script writers in any medium. Murphy defines six essential building blocks and strategies for a successful adaptation, including theme, dialogue, character, imagery, storyline, and action. Exercises at the end of each chapter lead readers through the transformation process, from choosing their material to creating their own adaptations. The book provides case studies of successful adaptations, including The Grapes of Wrath (adaptation by Frank Galati) and the author's own adaptations of stories by Samuel Beckett and John Barth. Also included is practical information on building collaborative relationships, acquiring rights, and getting your adaptation produced.

Since the 1970s, the name Stephen King has been synonymous with horror. His vast number of books has spawned a similar number of feature films and TV shows, and together they offer a rich opportunity to consider how one writer’s work has been adapted over a long period within a single genre and across a variety of media—and what that can tell us about King, about adaptation, and about film and TV horror. Starting from the premise that King has transcended ideas of authorship to become his own literary, cinematic, and televisual brand, Screening Stephen King explores the impact and legacy of over forty years of King film and television adaptations.

Simon Brown first examines the reasons for King’s literary success and then, starting with Brian De Palma’s Carrie, explores how King’s themes and style have been adapted for the big and small screens. He looks at mainstream multiplex horror adaptations from Cujo to Cell, low-budget DVD horror films such as The Mangler and Children of the Corn franchises, non-horror films, including Stand by Me and The Shawshank Redemption, and TV works from Salem’s Lot to Under the Dome. Through this discussion, Brown identifies what a Stephen King film or series is or has been, how these works have influenced film and TV horror, and what these influences reveal about the shifting preoccupations and industrial contexts of the post-1960s horror genre in film and TV.

The first collected volume to define superhero television as a distinct cultural phenomenon, broadening horizons of what superhero stories have been and might become.

Superhero films dominate Hollywood and recent studies of popular culture. Superheroes are also abundant on television, and have been for decades, yet critics have largely neglected this intersection of genre and medium. Small-Screen Supers gathers an international group of scholars who, for the first time, examine superhero television as a distinct cultural and artistic phenomenon.

Informed by a range of critical perspectives, contributors examine animated and live-action shows aimed at children, teens, and adults, combining scholarship on popular contemporary programming with analysis of less-successful shows from the recent and distant past. Collectively, the anthology emphasizes how superhero television has reflected, informed, and transformed American culture and media. In particular, Small-Screen Supers argues that superhero TV—more so than film—foregrounds demographic diversity and social critique. Whether interpreting the 1980s cartoon Spider-Man and His Amazing Friends as a queer sitcom, underscoring the progressive politics of Supergirl, or investigating pandemic-inspired subjectivities in Werewolf by Night, the authors reflect on superhero television as a unique mode of expression with important implications for understanding American popular culture.