Robert Edgar is a Senior Lecturer in Creative Writing in the School of Humanities, Religion and Philosophy at York St John University, with research interests including screenwriting, prose fiction, radio drama, popular music, the practice of film production, short film production and distribution, narratology and the theory and practice of comedy. Author affiliation details are correct at time of print publication.
John Marland is a Senior Lecturer in Literature Studies at York St John University with twenty years of experience using adaptation as an educational tool across a range of the arts and humanities subjects including Literature, Creative Writing and Film & TV Production. Author affiliation details are correct at time of print publication.
...8a) Working between texts
This chapter examines appropriation both as a form of adaptation and as a form in its own right. Appropriation might be loosely described as the taking of a core feature or aspect of a text and then reusing...
...Clooney’s stardom intersects with the broad range of production contexts characterizing the industrial landscape of contemporary American film and television. As discussed in Chapter 1, during the 1980s Clooney worked on feature films made...
...George Clooney is a distinct figure in modern Hollywood. After his film career took off in the mid-1990s, Clooney went on to star in a run of movies where he presented something quite different from his leading-man peers. By 2000, one...
...At the start of his acting career, Clooney spent over a decade juxtaposing television and film assignments, working regularly in both media but achieving no success in either. This career phase came to an end when Clooney worked...
...Like all film actors, Clooney’s professional function on-screen is to represent characters using his body and voice, and yet Clooney is not like other actors, for he belongs to that small elite who are actor-stars. Clooney’s acting portrays...
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