Browsing Media and film by Subjects
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The origins of transmedia storytelling in early twentieth century adaptationThis book explores the significance of professional writers and their role in developing British storytelling in the 1920s and 1930s, and their influence on the poetics of today’s transmedia storytelling. Modern techniques can be traced back to the early twentieth century when film, radio and television provided professional writers with new formats and revenue streams for their fiction. The book explores the contribution of four British authors, household names in their day, who adapted work for film, television and radio. Although celebrities between the wars, Clemence Dane, G.B. Stern, Hugh Walpole and A.E.W Mason have fallen from view. The popular playwright Dane, witty novelist Stern and raconteur Walpole have been marginalised for being German, Jewish, female or gay and Mason’s contribution to film has been overlooked also. It argues that these and other vocational authors should be reassessed for their contribution to new media forms of storytelling. The book makes a significant contribution in the fields of media studies, adaptation studies, and the literary middlebrow.
Wheels of Desire: The Popular Adaptations of A.E.W. Mason’s Thrillers from 1900s to the 1930sIn the early twentieth century, Alfred Edward Woodley Mason’s (1865-1948) stories were adapted across the media in an early form of today’s practice of transmedia publication. He wrote over twenty stories in the 1920s and 1930s and had a remarkable number of film adaptations. For literary and film historians and scholars of contemporary publishing, he is an example of a British author engaging in process of adaption as his works were transferred to the stage, “realised” by the movie studios and adapted for the new medium of BBC radio. His films were cited as “Britain’s reply to the American talkie monopoly” in 1931. Mason was not as active as some of this contemporaries in exploiting the potential of his work across the different media: authors like H.G. Wells who he commended for being involved in film, Hugh Walpole and Elinor Glyn were far more deeply engaged with the studios. However his particular gifts as a storyteller, traveller and observer of character lead him to write the film-story. And if that story was not yet structured through film grammar to keep suspense or quite with a movie’s narrative arc, the adaptations of his works were milestones in that development.