Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-27T09:28:05.444Z Has data issue: false hasContentIssue false
Series:   Elements in Publishing and Book Culture

Adapting Bestsellers

Fantasy, Franchise and the Afterlife of Storyworlds

Published online by Cambridge University Press:  07 December 2019

Ken Gelder
Ken Gelder
Affiliation:
University of Melbourne

Summary

This Element looks at adaptations of bestselling works of popular fiction to cinema, television, stage, radio, video games and other media platforms. It focuses on 'transmedia storytelling', building its case studies around the genre of modern fantasy: because the elaborate storyworlds produced by writers like J. R. R. Tolkien, J. K. Rowling and George R. R. Martin have readily lent themselves to adaptations across various media platforms. This has also made it possible for media entertainment corporations to invest in them over the long term, enabling the development of franchises through which their storyworlds are presented and marketed in new ways to new audiences.
Get access

Keywords

fantasybestsellersadaptationfranchisestoryworldstransmedia storytellingbestsellersadaptationfranchisestoryworldstransmedia storytelling
Type
Element
Information
Series: Elements in Publishing and Book Culture
Online ISBN: 9781108589604
Publisher: Cambridge University Press
Print publication: 02 January 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anderson, C. (2013). Producing an Aristocracy of Culture in American Television. In Edgerton, G. R. and Jones, J. P., eds., The Essential HBO Reader. Lexington: University Press of Kentucky, pp. 23–41.Google Scholar
Atherton, M. (2012). There and Back Again: J. R. R. Tolkien and the Origins of The Hobbit. London and New York: I. B. Tauris.Google Scholar
Babbage, Frances (2018). Adaptation in Contemporary Theatre: Performing Literature. London: Bloomsbury.Google Scholar
Wolf, Bad (2018). Philip Pullman’s His Dark Materials. https://bad-wolf.com/philip-pullmans-his-dark-materials-is-commissioned/.Google Scholar
Barnett, D. (2018). Making Fantasy Reality: Alan Lee, the Man Who Redrew Middle-Earth. Guardian, 3 September: www.theguardian.com/books/2018/sep/03/alan-lee-jrr-tolkien-the-lord-of-the-rings-the-hobbit-the-fall-of-gondolin.Google Scholar
Bauer, E. (2002). Peter Jackson. Creative Screenwriting, January–February: pp. 6–12.Google Scholar
Bellot, G. (2018). How Le Guin’s A Wizard of Earthsea Subverts Racism (But Not Sexism). Tor.com, 30 October: www.tor.com/2018/10/30/how-le-guins-a-wizard-of-earthsea-subverts-racism-but-not-sexism/.Google Scholar
Berlatsky, N. (2015). Harry Potter and the Contradictions about Racial Justice. Guardian, 24 December: www.theguardian.com/books/2015/dec/24/harry-potter-race-muggles-black-hermione.Google Scholar
Billington, M. (2004). His Dark Materials. Guardian, 5 January: www.theguardian.com/stage/2004/jan/05/theatre.fiction.Google Scholar
Birns, N. (2018). J. R. R. Tolkien: Architect of Modern Fantasy. Farmington Hills, MI: Gale.Google Scholar
Blake, A. (2002). The Irresistible Rise of Harry Potter. London: Verso.Google Scholar
Bolter, J. D., and Grusin, R. (1999). Remediation: Understanding New Media. Cambridge: MIT Press.Google Scholar
Bourdaa, M. (2013). ‘Following the Pattern’: The Creation of an Encyclopaedic Universe with Transmedia Storytelling. Adaptation, 6(2): pp. 202–14.Google Scholar
Bourdieu, P. (2002). The Field of Cultural Production. In Finkelstein, D and McCleery, A, eds., The Book History Reader. London and New York: Routledge.Google Scholar
Bristol, M. D. (2005). Big-Time Shakespeare. London and New York: Routledge.Google Scholar
Brown, M. (2014). George R. R. Martin: ‘I Can Only Write One Word at a Time, One Book at a Time’. Guardian, 13 August: www.theguardian.com/books/2014/aug/13/george-rr-martin-write-game-thrones-hbo.Google Scholar
Cain, R. (2017). Amazon’s $250m Lord of the Rings Purchase Price Is 1,000 Times What Tolkien First Got for It. Forbes.com, 14 November: www.forbes.com/sites/robcain/2017/11/14/amazons-250m-lord-of-the-rings-purchase-price-is-1000-times-what-tolkein-first-got-for-it/#5d442c897273.Google Scholar
Carpenter, H., ed. (2006). The Letters of J. R. R. Tolkien. London: HarperCollins.Google Scholar
Carr, F. (2019). When Is the Lord of the Rings TV Series Released on Amazon? Who’s in the Cast? What’s It Going to Be About? Radio Times, 6 March: www.radiotimes.com/news/on-demand/2019–03-06/lord-of-the-rings-amazon-tv-series-release-date-cast-trailer-writers-prime-video/.Google Scholar
Chase, C. (1982). At the Movies: The Magic of Producing ‘A Unicorn’. New York Times, 19 November: www.nytimes.com/1982/11/19/movies/at-the-movies-the-magic-of-producing-a-unicorn.html.Google Scholar
Child, B. (2015). Jackson, Peter: ‘I Didn’t Know What the Hell I Was Doing’ When I Made The Hobbit. Guardian, 19 November: www.theguardian.com/film/2015/nov/19/peter-jackson-battle-of-the-five-armies-i-didnt-know-what-the-hell-i-was-doing-when-i-made-the-hobbit.Google Scholar
Coleridge, S. T. (1834). Biographia Literaria; Or, Biographical Sketches of My Literary Life and Opinions. New York: Leavitt, Lord & Co.Google Scholar
Collins, J. (2010). Bring on the Books for Everybody: How Literary Culture Became Popular Culture. Durham, NC: Duke University Press.Google Scholar
Cooper, G. F. (2019). Game of Thrones Dragonmaster Reveals the Secrets of Daenerys’ Babies. Cnet.com, 10 March: www.cnet.com/news/game-of-thrones-vfx-dragonmaster-reveals-secrets-of-daenerys-babies/.Google Scholar
Corriea, A. R. (2014). There and Back Again: A History of The Lord of the Rings in Video Games. Polygon.com, September: www.polygon.com/2014/9/23/6414775/lord-the-rings-tolkien-video-games.Google Scholar
Culhane, J. (1977). Will the Video Version of Tolkien Be Hobbit Forming? New York Times, 27 November: www.nytimes.com/1977/11/27/archives/will-the-video-version-of-tolkien-be-hobbit-forming.html.Google Scholar
Culhane, J. (1981). Ralph Bakshi: Iconoclast of Animation. New York Times, 22 March: www.nytimes.com/1981/03/22/arts/ralph-bakshi-iconoclast-of-animation.html.Google Scholar
Curry, P. (2004). Defending Middle-Earth: Tolkien, Myth and Modernity. New York: Houghton Mifflin.Google Scholar
Dargis, M. (2013). In the Middle of Middle Earth. New York Times, 12 December: www.nytimes.com/2013/12/13/movies/the-hobbit-the-desolation-of-smaug-with-ian-mckellen.html.Google Scholar
Day, J. (2001). Coke to Cash in on Harry Potter. Guardian, 20 February: www.theguardian.com/media/2001/feb/20/marketingandpr2.Google Scholar
Donaldson, S. (1986). Epic Fantasy in the Modern World. Kent, OH: Kent State University Library.Google Scholar
Donaldson, S. (2005, 2008). Stephen R. Donaldson: The Official Website: www.stephenrdonaldson.com/fromtheauthor/gi_view.php.Google Scholar
Dreyfuss, E. (2017). George R. R. Martin Doesn’t Need to Finish Writing the Game of Thrones Books. Wired.com, 5 May: www.wired.com/2017/05/george-r-r-martin-game-of-thrones-books/.Google Scholar
Edwards, B. (2007). C.S Lewis: Life, Works and Legacy. Vol. 4.Westport, CN: Praeger.Google Scholar
Errington, P. W. (2017).J. K. Rowling: A Bibliography. London: Bloomsbury.Google Scholar
Eyre, C. (2014). Warner Bros. Creates Harry Potter Franchise Development Team. TheBookseller.com, 31 July: www.thebookseller.com/news/warner-bros-creates-harry-potter-franchise-development-team.Google Scholar
Fine, G. A. (1983). Shared Fantasy: Role Playing Games as Social Worlds. Chicago: University of Chicago Press.Google Scholar
Flood, A. (2018). George R. R .Martin: ‘When I Began A Game of Thrones I Thought It Might Be a Short Story’. Guardian, 10 November: www.theguardian.com/books/2018/nov/10/books-interview-george-rr-martin.Google Scholar
Gekoski, R. (2004). Tolkien’s Gown & Other Stories of Great Authors and Rare Books. London: Constable.Google Scholar
Genette, G. (1997). Paratexts: Thresholds of Interpretation. Trans. J. E. Lewin. Cambridge: Cambridge University Press.Google Scholar
Goff, P. (2006). Producing Harry Potter: Why the Medium Is Still the Message. In Nexon, D. H. and Neumann, I. B., eds., Harry Potter and International Relations. New York: Rowman and Littlefield, pp. 27–44.Google Scholar
Goldstein, P., and Rainey, J. (2009). The Secret History of Why Disney Dumped ‘Narnia’. Los Angeles Times, 19 January: https://latimesblogs.latimes.com/the_big_picture/2009/01/the-secret-hist.html.Google Scholar
Grau, O. (2003). Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.Google Scholar
Gray, J. (2010). Show Sold Separately: Spoilers, Spinoffs, and Other Media Paratexts. New York: New York University Press.Google Scholar
Greenway, J. (2019). Fans Are Ruining Game of Thrones – and Everything Else. New Republic, 21 May: https://newrepublic.com/article/153961/fans-ruining-game-thronesand-everything-else.Google Scholar
Groves, B. (2017). Literary Allusion in Harry Potter. London and New York: Routledge.Google Scholar
Grossman, L. (2011). George R. R. Martin’s Dance with Dragons: A Masterpiece Worthy of Tolkien. Time, 7 July: http://content.time.com/time/arts/article/0,8599,2081774,00.html.Google Scholar
Gupta, S. (2009). Re-Reading Harry Potter. Houndmills, UK: Palgrave.Google Scholar
Hanel, M. (2012). From Sketch to Still: From Marbling Gringotts to Painting Diagon Alley, How Harry Potter’s Art Direction Earned Its Oscar Nod. Vanity Fair, 14 February: www.vanityfair.com/culture/2012/02/harry-potter-exclusive-art-direction-room-of-requirement-special-effects.Google Scholar
Harmetz, A. (1978). Bakshi Journeys to Middle Earth to Animate ‘Lord of the Rings’. New York Times, 8 November: www.nytimes.com/1978/11/08/archives/bakshi-journeys-to-middle-earth-to-animate-lord-of-the-rings-in.html.Google Scholar
Harris, C. (2001). Dead until Dark. New York: Ace Books.Google Scholar
Harvey, C., and Press, J. (1991). William Morris: Design and Enterprise in Victorian Britain. Manchester and New York: Manchester University Press.Google Scholar
Heritage, S. (2013). The Golden Compass Recap: How a Literary Triumph Was Turned to Dust. Guardian, 10 November: www.theguardian.com/film/2013/nov/10/golden-compass-film-recap.Google Scholar
Hibberd, J. (2016). Game of Thrones: Battle of the Bastards Director Speaks Out. EW.com, 9 June: https://ew.com/article/2016/06/19/game-thrones-battle-director/.Google Scholar
Hibberd, J. (2018). George R. R. Martin Gets Candid about New Book: ‘What Excites Me Most Is I Finished It’. Ew.com, 19 November: https://ew.com/author-interviews/2018/11/19/george-rr-martin-interview/.Google Scholar
Hibberd, J. (2019). Game of Thrones First Look: Inside the Brutal Battle to Make Season 8. EW.com, 4 March: https://ew.com/tv/2019/03/04/game-of-thrones-season-8-battle/.Google Scholar
Hickey, W. (2015). Get Ready for Even More Off-Book Game Of Thrones. Fivethirtyeight.com, 15 June: https://fivethirtyeight.com/features/game-of-thrones-source-material-left-out/.Google Scholar
Hooton, C. (2018). The Long Night: Game of Thrones Prequel’s ‘Sociality’ Could Take the Franchise Back to Its Roots. Independent, 31 October: www.independent.co.uk/arts-entertainment/tv/game-of-thrones/game-of-thrones-prequel-naomi-watts-the-long-night-spinoff-new-series-hbo-plot-news-a8610466.html.Google Scholar
Hutcheon, L. (2013). A Theory of Adaptation, 2nd ed.New York: Routledge.Google Scholar
Irwin, A. (2019). Shadows on the Wall. Times Literary Supplement, 7 June: pp. 20–1.Google Scholar
James, E. (2012). Tolkien, Lewis and the Explosion of Genre Fantasy. In James, E and Mendlesohn, F, eds., The Cambridge Companion to Fantasy Literature. Cambridge: Cambridge University Press, pp. 62–78.Google Scholar
Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Johnson, D. (2013). Media Franchising: Creative License and Collaboration in the Culture Industries. New York: New York University Press.Google Scholar
Kermode, M. (2014). The Hobbit: The Battle of the Five Armies Review – No More Than a Middling Finale from Middle-Earth. Guardian, 14 December: www.theguardian.com/film/2014/dec/14/the-hobbit-battle-five-armies-review-middling-finale-middle-earth.Google Scholar
Lanchester, J. (2019). You Win or You Die. London Review of Books, 6 June, p. 16.Google Scholar
Lanier, D. (2007). ShakespeareTM: Myth and Biographical Fiction. In Shaughnessy, R, ed., The Cambridge Companion to Shakespeare and Popular Culture. Cambridge: Cambridge University Press, pp. 93–113.Google Scholar
Latta, C. (2016). C. S. Lewis and the Art of Writing. Eugene: Cascade Books.Google Scholar
Le Guin, U. (2004). A Whitewashed Earthsea: How the Sci Fi Channel Wrecked My Books. Slate.Com, 16 December: https://slate.com/culture/2004/12/ursula-k-le-guin-on-the-tv-earthsea.html.Google Scholar
Lewis, C. S. (2012). An Experiment in Criticism (1961). Cambridge: Cambridge University Press.Google Scholar
Liptak, A. (2013). The Unauthorised Lord of the Rings. Kirkusreviews.com. 5 December: www.kirkusreviews.com/features/unauthorized-lord-rings/.Google Scholar
Lyman, R. (2001). Gambling on a Film Fantasy; ‘Lord of the Rings’ Shows New Line Cinema’s Value to AOL. New York Times, 12 December: www.nytimes.com/2001/12/12/movies/gambling-film-fantasy-lord-rings-shows-new-line-cinema-s-value-aol.html.Google Scholar
Martin, G. R. R. (2014). A Game of Thrones. London: HarperCollins.Google Scholar
Matulef, J. (2011). The Lord of the Rings: War in the North Review. Eurogamer.com, 24 November: www.eurogamer.net/articles/2011–11-24-the-lord-of-the-rings-war-in-the-north-review.Google Scholar
McGrath, C. (2007). Unholy Production with a Fairy-tale Ending. New York Times, 2 December: www.nytimes.com/2007/12/02/movies/02mcgr.html.Google Scholar
Meikle, K. (2019). Adaptations in the Franchise Era: 2001–16. New York and London: Bloomsbury Academic.Google Scholar
Miller, L. (2005). Far from Narnia. New Yorker, 26 December: www.newyorker.com/magazine/2005/12/26/far-from-narnia.Google Scholar
Miller, M. (1999). ‘Harry Potter’ Casts a Spell Across the Ages. Los Angeles Times, 8 September: www.latimes.com/nation/la-na-potter-casts-spell-20170626-story.html.Google Scholar
Missingham, S. (2012). Interview: Charlie Redmayne, CEO of Pottermore. TheBookseller.com, 23 November: www.thebookseller.com/futurebook/interview-charlie-redmayne-ceo-pottermore.Google Scholar
Moher, A. (2018). Art of SFF: Charles Vess on Working with Ursula Le Guin on The Books of Earthsea. Tor.com, 9 November: www.tor.com/2018/11/09/art-of-sff-charles-vess-on-working-with-ursula-le-guin-on-the-books-of-earthsea/.Google Scholar
Murray, S. (2002). Harry Potter, Inc. Content Recycling for Corporate Synergy. M/C Journal, 5(4): http://journal.media-culture.org.au/0208/recycling.php.Google Scholar
Murray, S. (2012). The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York and London: Routledge.Google Scholar
Netflix Media Centre (2018). Netflix to Develop Series and Films Based on C. S. Lewis’s Beloved The Chronicles of Narnia. Netflix, 3 October: https://media.netflix.com/en/press-releases/netflix-to-develop-series-and-films-based-on-c-s-lewis-beloved-the-chronicles-of-narnia.Google Scholar
O’Hehir, A. (2002). The Lord of the Rings: The Fellowship of the Ring. Sight and Sound, February, pp. 49–52.Google Scholar
Otterson, J. (2019). Game of Thrones Prequel Rounds Out Main Cast, S. J. Clarkson to Direct. Variety.com, 8 January: https://variety.com/2019/tv/news/game-of-thrones-prequel-cast-sj-clarkson-director–1203102426/.Google Scholar
Parker, L. (2014). A Gaming Company Devoted to Narrative Tackles Thrones. New York Times, 27 April: www.nytimes.com/192014/04/28/arts/video-games/a-gaming-company-devoted-to-narrative-tackles-thrones.html.Google Scholar
Parody, Clare (2011). Franchising/Adaptation. Adaptation, 4(2): pp. 210–18.Google Scholar
Paulson, M. (2018). Another Harry Potter Landmark: At $68 Million, the Most Expensive Broadway Nonmusical Play Ever. New York Times, 14 April: www.nytimes.com/2018/04/14/theater/harry-potter-broadway.html.Google Scholar
Perez, R. (2012). Peter Jackson Explains How ‘The Lord of The Rings’ Was Almost One Film Directed by John Madden and How Some Careful Lies Saved the Project in Four Weeks. Indiewire.com, 9 December: www.indiewire.com/2012/12/peter-jackson-explains-how-the-lord-of-the-rings-was-almost-one-film-directed-by-john-madden-how-some-careful-lies-saved-the-project-in-four-weeks–103140/.Google Scholar
Plesset, R. (2002). The Lord of the Rings: The Animated Films. Cinefantastique, 34(1): pp. 52–3.Google Scholar
Pottermore News Team (2018). 500 Million Harry Potter books Have Now Been Sold Worldwide. Pottermore, 1 February: https://www.pottermore.com/news/500-million-harry-potter-books-have-now-been-sold-worldwide.Google Scholar
Pullman, P. (1998). The Dark Side of Narnia. Guardian, 1 October, pp. 6–7.Google Scholar
Rankin, S. (2018). J. K. Rowling Answers EW’s Burning Questions about Fantastic Beasts: The Crimes of Grindelwald. EW.com, 16 October: https://ew.com/movies/2018/10/16/jk-rowling-interview-fantastic-beasts-crimes-grindelwald/.Google Scholar
Rapold, N. (2014). Bilbo Baggins in the Shadow of Bloodthirsty Hordes. New York Times, 16 December: www.nytimes.com/2014/12/17/movies/the-hobbit-the-battle-of-the-five-armies.html.Google Scholar
Ravindran, M. (2018). Netflix Sets Out for Narnia with eOne’s Mark Gordon. TBIVision, 4 October: https://tbivision.com/2018/10/04/netflix-sets-out-for-narnia-with-eones-mark-gordon/.Google Scholar
Renfro, K. (2017). Inside the New Battle-Ready Looks of the Game of Thrones Queens. ThisIsInsider.com, 28 June: www.thisisinsider.com/game-of-thrones-costume-designer-michele-clapton-interview–2017–6.Google Scholar
Rich, M. (2007a). The Voice of Harry Potter Can Keep a Secret. New York Times, 17 July: www.nytimes.com/2007/07/17/books/17dale.html.Google Scholar
Rich, M. (2007b). Record First-Day Sales for Last ‘Harry Potter’ Book. New York Times, 22 July: www.nytimes.com/2007/07/22/books/22cnd-potter.html.Google Scholar
Riley, A. (2010). Sucking the Quileute Dry. New York Times, 7 February: www.nytimes.com/2010/02/08/opinion/08riley.html.Google Scholar
Rissik, A. (2000). Middle-Earth, Middlebrow. Guardian, 2 September: www.theguardian.com/books/2000/sep/02/jrrtolkien.classics.Google Scholar
Robinson, J. (2017). Game of Thrones: The Final Season Has an Insanely Huge Budget. Vanity Fair, 26 September: www.vanityfair.com/hollywood/2017/09/game-of-thrones-how-much-does-the-final-season-8-cost-per-episode-15-million.Google Scholar
Robinson, J. (2018). Game of Thrones: The Secrets of George R. R. Martin’s Final Script. Vanity Fair, 7 December: www.vanityfair.com/hollywood/2018/12/game-of-thrones-george-rr-martin-last-script-the-lion-and-the-rose.Google Scholar
Rowling, J. K. (2001). Fantastic Beasts and Where to Find Them. London: Bloomsbury.Google Scholar
Rowling, J. K. (2013). Harry Potter and the Philosopher’s Stone. London: Bloomsbury.Google Scholar
Rubin, R. L. (2012). Well Met: Renaissance Fairies and the American Counterculture. New York and London: New York University Press.Google Scholar
Salen, K., and Zimmerman, E. (2004). Rules of Play: Game Design Fundamentals. Cambridge: MIT Press.Google Scholar
Saler, M. (2012). As If: Modern Enchantment and the Literary Prehistory of Virtual Reality. Oxford: Oxford University Press.Google Scholar
Saraiya, S. (2014). The Violent Wonderland of Game of Thrones. TV.avclub.com, 13 June: https://tv.avclub.com/the-violent-wonderland-of-game-of-thrones–1798269407.Google Scholar
Saraiya, S. (2016). Game of Thrones Goes to War: The Once-Radical Fantasy Is Now the Establishment – For Better and for Worse. Salon.com, 24 April: www.salon.com/2016/04/24/game_of_thrones_goes_to_war_the_once_radical_fantasy_is_now_the_establishment_for_better_and_for_worse/.Google Scholar
Scott, A. O. (2012). Bilbo Begins His Ring Cycle. New York Times. 13 December: www.nytimes.com/2012/12/14/movies/the-hobbit-an-unexpected-journey-by-peter-jackson.html.Google Scholar
Seale, J. (2015). George R. R. Martin: Hollywood Would Have Ruined Game of Thrones. Guardian, 10 June: www.theguardian.com/tv-and-radio/tvandradioblog/2015/jun/10/george-rr-martin-hollywood-would-have-ruined-game-of-thrones.Google Scholar
Shamsian, J. (2018). The Woman Who Illustrated ‘Harry Potter’ Barely Spoke to J. K. Rowling while She Completed All 7 Books. ThisIsInsider.com, 13 November: www.thisisinsider.com/mary-grandpre-jk-rowling-book-illustrations-relationship-2018-11.Google Scholar
Sharf, Z. (2018). Catherine Hardwicke Fought for ‘Twilight’ to Feature Diverse Cast, but Stephenie Meyer Rejected Her Idea. Indiewire.com, 3 October: www.indiewire.com/2018/10/catherine-hardwicke-twilight-diverse-cast-stephenie-meyer-refused–1202009330/.Google Scholar
Shippey, T. (2000). J. R. R. Tolkien: Author of the Century. London: HarperCollins.Google Scholar
Shippey, T. (2003). From Page to Screen: J. R. R. Tolkien and Peter Jackson. World Literature Today. 77(2): pp. 69–72.Google Scholar
Sibley, B. (2008). ‘Pauline Baynes: Illustrator Who Depicted Lewis’s Narnia and Tolkien’s Middle-Earth’. Independent, 6 August: www.independent.co.uk/news/obituaries/pauline-baynes-illustrator-who-depicted-lewiss-narnia-and-tolkiens-middle-earth-886121.html.Google Scholar
Siede, C. (2016). Game of Thrones Has Ushered in the Golden Age of Internet Fandom. QZ.com, 7 June: https://qz.com/699381/game-of-thrones-has-ushered-in-the-golden-age-of-internet-fandom/.Google Scholar
Siegel, T. (2014). Multiples Game of Thrones Movies Eyes by George R. R. Martin. Hollywoodreporter.com, 19 March: www.hollywoodreporter.com/heat-vision/game-thrones-movies-eyed-by–689629.Google Scholar
Smith, A. (2018). Storytelling Industries: Narrative Production in the 21st Century. Basingstoke, UK: Palgrave.Google Scholar
Smith, D. (2000). The Times Plans a Children’s Best-Seller List. New York Times, 24 June: www.nytimes.com/2000/06/24/books/the-times-plans-a-children-s-best-seller-list.html?.Google Scholar
Stamp, E. (2011). Inside Harry Potter and the Deathly Hallows: Part 2. ArchitecturalDigest.com, 1 July: www.architecturaldigest.com/story/harry-potter-set-design-article.Google Scholar
Steafel, E. (2016). I Told J K Rowling She’d Never Make Any Money from Harry Potter. Telegraph, 10 December: www.telegraph.co.uk/men/thinking-man/told-j-k-rowling-never-make-money-harry-potter/.Google Scholar
Takanashi, D. (2017). Middle-Earth: Shadow of War Post-Mortem – Monolith’s Michael De Plater Explains It All. Venturebeat.com, 17 October: https://venturebeat.com/2017/10/17/game-boss-interview-michael-de-platers-postmortem-on-middle-earth-shadow-of-war/.Google Scholar
Tassi, P. (2018). Game of Thrones Showrunners Doing Star Wars Is Worrisome for a Few Reasons. Forbes, 7 February: www.forbes.com/sites/insertcoin/2018/02/07/game-of-thrones-showrunners-doing-star-wars-is-worrisome-for-a-few-reasons/#67504d844d0e.Google Scholar
Taylor, G. (2017). Artiginality: Authorship after Postmodernism. In Taylor, G and Egan, G, eds., The New Oxford Shakespeare: Authorship Companion. Oxford: Oxford University Press, pp. 3–26.Google Scholar
Thompson, E. P. (2011). William Morris: Romantic to Revolutionary. Oakland: PM Press and Merlin Press.Google Scholar
Thompson, K. (2007). The Frodo Franchise: The Lord of the Rings and Modern Hollywood. Berkeley: University of California Press.Google Scholar
Tolkien, J. R. R. (2001). On Fairy Stories. In Tree and Leaf. London: HarperCollins.Google Scholar
Toynbee, P. (2005). Narnia Represents Everything That Is Most Hateful about Religion. Guardian, 5 December: www.theguardian.com/books/2005/dec/05/cslewis.booksforchildrenandteenagers.Google Scholar
Trueman, M. (2012). Narnia – The Next Stage Spectacular. Guardian, 3 January: www.theguardian.com/stage/2012/jan/03/narnia-the-next-stage-spectacular.Google Scholar
Turner, J. (2001). Reasons for Liking Tolkien. London Review of Books, 23(22): www.lrb.co.uk/v23/n22/jenny-turner/reasons-for-liking-tolkien.Google Scholar
Voigts-Virchow, E. (2017). Anti-essentialist Versions of Aggregate Alice: A Grin without a Cat. In Krebs, K, ed., Translation and Adaptation in Theatre and Film. London and New York: Routledge, pp. 63–79.Google Scholar
Wahlquist, C. (2019). The Cursed Child in Australia: It’s Harry Potter for People Who Never Really Liked Him. Guardian, 23 February: www.theguardian.com/stage/2019/feb/24/the-cursed-child-in-australia-its-harry-potter-for-people-who-never-really-liked-him.Google Scholar
Wasko, J., and Shanadi, G. (2006). More Than Just Rings: Merchandise for Them All. In Mathijs, E, ed., The Lord of the Rings: Popular Culture in Global Context. New York: Wallflower Press, pp. 23–42.Google Scholar
Whitehead, A. (2018). Sales of A Song of Ice and Fire Overtake The Wheel of Time and DiscWorld. TheWertZone: SF in Print and On Screen, 28 July: http://thewertzone.blogspot.com/2018/07/sales-of-song-of-ice-and-fire-overtake.html.Google Scholar
Wilkin, S. (2012). ‘Harry Potter’ Studio Tour Interview: Nick Dudman Talks Designing Magical Creatures. Hypable.com, 1 April: www.hypable.com/harry-potter-studio-tour-interview-nick-dudman-talks-designing-magical-creatures/.Google Scholar
Williams, S. (2012). The Lion, the Witch and the Wardrobe: Narnia in the Park. Telegraph, 29 May: www.telegraph.co.uk/culture/theatre/theatre-features/9284983/Lion-the-Witch-and-the-Wardrobe-Narnia-in-the-park.html.Google Scholar
Windolf, J. (2014). The Gathering Storm. Vanity Fair, April: www.vanityfair.com/hollywood/2014/04/game-of-thrones-season–4.Google Scholar
Wright, E.B. (2010). Creating Dothraki: An Interview with David J. Peterson and Sai Emrys. Tor.com, 22 April: www.tor.com/2010/04/22/creating-dothraki-an-interview-with-david-j-peterson-and-sai-emrys/.Google Scholar
Yu, C. (2018). Martin, George R. R., Fantasy’s Reigning King. New York Times Style Magazine, 15 October: www.nytimes.com/2018/10/15/t-magazine/george-rr-martin-got-interview.html.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Adapting Bestsellers
  • Ken Gelder, University of Melbourne
  • Online ISBN: 9781108589604
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Adapting Bestsellers
  • Ken Gelder, University of Melbourne
  • Online ISBN: 9781108589604
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Adapting Bestsellers
  • Ken Gelder, University of Melbourne
  • Online ISBN: 9781108589604
Available formats
×