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In recent years, adaptation studies has emerged as a field of urgent scholarly importance and, having moved past outdated presuppositions and prejudices, has revealed adaptation as a crucial form of dialogue between and among different media, texts and social–historical contexts. The proliferation of new technologies and new media, theorized as the digital post-cinematic era, but encompassing more than what Costas Constandinides calls the ‘post-­celluloid’ (2010: 3), has arguably deepened this importance, implicating adaptation in previously unconsidered cultural arenas. In their common emphasis upon post-millennial cinema, all four articles in this dossier are based in the recognition that it is no longer possible to conceive of filmic adaptation as a straightforward movement from page to screen; that therefore we must turn our attention to the role new media technologies play in processes of dialogic mediation and identity formation, in the production (and elision) of inter-subjective and cultural difference, in the shaping of cultural memory, and in the very question of defining cinema in the early twenty-first century.

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AbstractThis paper reads the Isuma ‘Fast Runner’ trilogy – Atanarjuat, The Fast Runner (2001), The Journals of Knud Rasmussen (2006), Before Tomorrow (2008) – as contemporary digital video instantiations of Inuit cultural memory and knowledge (re-)production; as fixed audiovisual texts ironically documenting and archiving a repertoire of traditional cultural folkways, reinscribing them in the present as still-living cultural practices. This is achieved in the films through Isuma’s unique approach to cinematic style, combining long takes and natural light with the freedom and unpredictability afforded by the digital format. In the end, Isuma’s openness to post-literate media forms emerges as an ideal approach to the representation of specific posthuman Indigenous identities.