Cultural Transduction and Intertextuality in Video Games

Uribe-Jongbloed, Enrique; Espinosa-Medina, Hernán David; Biddle, James W.

doi:10.4018/978-1-5225-0477-1.ch009

Cited by 7 publications

(3 citation statements)

References 18 publications

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“…Uribe-Jongbloed and Espinsosa-Medina ( 2014), in a review of publications about the flow of audiovisual cultural products in the globalization context from 1976 to 2013, sorted out the concepts including cultural proximity (Straubhaar, 1991), cultural share ability (La Pastina & Straubhaar, 2005), cultural discount (Hoskins & Mirus, 1998), cultural lacunae, and cultural universality (Rohn, 2011), and provided a cultural transduction framework that consists of markets, products, people, and places for comparative research. The new framework was later used to analyse video games through comparative case studies (Uribe-Jongbloed et al, 2016), as well as the transcultural adaptation of Don Camillo from bestseller to film to television series (Uribe-Jongbloed & Aristizába, 2019).…”

Section: Controversy Over the Comparative Case Studymentioning

confidence: 99%

When Stories Travel: A Review of Transcultural Film Adaptation

Wang,

Suboh,

Alizadeh

2023

MJSSH

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Transcultural film adaptation has long been an obscure branch of adaptation studies, yet its history is equivalent to the film adaptation, and almost as long as cinema. Since its ongoing and growing adaptation activities are inconsistent with insufficient and limited theoretical research, this study reviews transcultural film adaptation research to bring fresh insights into the adaptation area. Based on adaptation research results, it alludes to related studies, such as cross-cultural communication and international communication, and defines transcultural film adaptation-related terms. It then reviews comparative case study method and fidelity studies to, on the one hand, summarize the research methodology and adaptation strategies and, on the other hand, respond to the two foundational questions surrounding adaptation raised by Leitch: the value of case study and the notion of fidelity. Instead of attacking fidelity or exaggerating the value of creativity, this paper contends that a reconciling relationship exists between fidelity and creativity in transcultural film adaptation, i.e. the creative transformation of culture.

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Section: Controversy Over the Comparative Case Studymentioning

confidence: 99%

When Stories Travel: A Review of Transcultural Film Adaptation

Wang,

Suboh,

Alizadeh

2023

MJSSH

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“…However, the word "adaptation" does not appear in the index, nor does it figure in the glossary, which as part of an introductory textbook aims to explain basic terms. 14 Studies about cultural economy (see, e.g., Straubhaar, 1991;Uribe-Jongbloed, and Espinosa-Medina, 2014;Uribe-Jongbloed, Espinosa-Medina, and Biddle, 2016) have also focused on adaptation in terms of cultural values without acknowledging LFAS. The awareness that adaptation is being studied outside the lit-film paradigm, and the subsequent understanding that therefore the label "adaptation studies" should apply to a wider study field have appeared only more re cently among literary film scholars; see, e.g., various contributions in Leitch's (2017c) The Oxford Handbook of Adaptation Studies) and in Cutchins' et al (2018) The Routledge Companion to Adaptation.…”

Section: Ts As and Disciplinarizationmentioning

confidence: 99%

Translation and Adaptation Studies: More Interdisciplinary Reflections on Theories of Definition and Categorization

Cattrysse

2020

ttr

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This paper discusses how theories of definition and probabilistic theories of categorization could help distinguish between translation and (literary film) adaptation, and eventually between translation (TS) and (literary film) adaptation studies (LFAS). Part I suggests readopting the common parlance definition of "translation" as the accurate rendition of the meaning of a verbal expression in another natural language, and "adaptation" as change that leads to better fit. Readopting these common parlance definitions entails categorical implications. The author discusses three parameters: whereas "translation" represents an invariance-oriented, semiotically invested, cross-lingual phenomenon, "adaptation" refers to a variance-oriented phenomenon, which is not semiotically invested, and entails better fit. Part II discusses how theories of categorization could help distinguish between TS and LFAS. The study of the disciplinarization of knowledge involves epistemic and socio-political conditioners. This section concludes that medium specificity, i.e., the linguistic versus lit-film paradigm, plays a major role in separating TS from LFAS. Another player that deserves more attention is the Romantic as opposed to the Classicist value system.

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“…Once we had constructed the framework, we began applying it to a variety of cases, ranging from TV shows in Colombia before the advent of the global format trade (Espinosa-Medina & Uribe-Jongbloed, 2016), to new developments in the videogame industry and the creation of transmedia products (Espinosa-Medina & Uribe-Jongbloed, 2017;Uribe-Jongbloed, Espinosa-Medina, & Biddle, 2016). In the process of moving from television shows to videogames, we discovered the need to thread other disciplinary grounds, including adaptation and translation studies.…”

Section: An Introduction To Cultural Transductionmentioning

confidence: 99%

An introduction to Cultural Transduction

Uribe-Jongbloed¹,

Espinosa-Medina²

2017

Pacla

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A few years back, while we were studying a variety of cases where media products had been changed or altered to suit specific markets, we discovered that there was a great amount of literature on the topic. The various authors we encountered talked about many different aspects of the process and provided a vocabulary that was developed to answer the particular concerns they had found when addressing their specific subject. However, as we pierced through pages of books and articles, we discovered that many of the terms were different, but the general meanings they were giving them were similar. Moreover, many of the terms and concepts proposed by the various authors seemed complementary and, in our eyes, the articulation of said concepts, bringing them together, provided a more nuanced and comprehensive picture of the subject. That is how we decided to create a general framework that could encompass all of the terminology and theoretical perspectives that had been developed, in order to provide a common ground for analysis of the processes of modification of cultural products as they crossed borders and markets.Our point of departure had been the flow and contraflow of cultural products (Thussu, 2007), which had been developed following a critique of the single-flow of television products (Tunstall, 1977) levied by Straubhaar (1991) andSinclair (1996). These critiques looked at the production and distribution of television programs in Latin America and presented a more complex landscape of the exchange of audiovisual products in terms of an asymmetrical interdependence and the establishment of geo-linguistic regions. 1 orcid.org/0000-0002-9415-7628. Universidad Jorge Tadeo

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Cultural Transduction and Intertextuality in Video Games

Cited by 7 publications

References 18 publications

When Stories Travel: A Review of Transcultural Film Adaptation

When Stories Travel: A Review of Transcultural Film Adaptation

Translation and Adaptation Studies: More Interdisciplinary Reflections on Theories of Definition and Categorization

An introduction to Cultural Transduction

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