Leitch argues that they should instead focus on Bakhtinian intertextuality, according to which ‘every text - adaptation or not - is influenced by a series of previous texts from which it could not help borrowing’. In reviewing the current state of adaptation studies in 2008, Thomas Leitch argued that many scholars - even those claiming to have overcome the age of moralistic comparative novel-to-film studies that value fidelity above all else - have found it very difficult to escape the grip of literary status and the fixation with novel-to-film adaptations. It considers the manner in which contemporary media conditions: 1 This book investigates the relationship between screen narratives and varied contexts of production, circulation and reception within the media convergence era, charting the ramifications for storytelling across a range of different media and national and institutional sites. Media studies commonly refers to these conditions as the era of media convergence. These conditions have also given audiences greater control over the framing of screen narratives and enabled them to more easily generate and disseminate their own screen narrative content. These technological/industrial conditions have provided new means for content producers and distributors to construct and circulate screen narratives. An accompanying industrial shift towards conglomeration has led to horizontally integrated media corporations disseminating narrative content globally across myriad media platforms. The emergence of digital modes of content creation and distribution, combined with the domestication of Internet technology and digital consumption devices, has led to the digital integration of the production and circulation of narrative content across media.
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