230
AdAptAtion in the Age of MediA ConvergenCe
commenting in participatory culture 16
n.20, 63, 64, 66-67, 74, 82, 114, 120, 123,
125, 127, 148
authorial comments by Sherlock lead
writers 134-135, 138, 149 n.64, 150, 152
companies see media companies
complexity theory 34, 37, 42, 44, 47
computer games see video games
consoles see video games
conspiracy theories 146, 206, 216-218, 221
consumers 8, 9, 14, 15, 16, 24, 92, 115, 169, 176,
183, 184, 189, 194, 197
control
corporate and authorial control 8, 19, 22,
25, 26, 93, 96, 116, 120, 133-154, 160, 163,
167-172, 194-195
control of (fan)creators 63-64, 78, 96
human control over the adaptation
process 40, 46-47, 51
convergence culture 8-11, 14-18, 20-24, 27,
32-37, 40-41, 44, 46-47, 51-52, 81, 88, 92-93,
160-165, 169, 176, 180, 196-197, 210 n.27
convergence environment see adaptation
environment
copyright 26 n.37, 47, 64, 68, 71, 72, 78, 79, 82,
89, 97, 101, 104, 117, 164 n.13
Corporate models 183-184, 186, 189, 191, 194-196
cover songs 15, 16, 24, 40, 111-128
comparison between different versions of
cover songs 112-113, 115, 116, 120, 123
creativity
creativity of writing and adaptation process 13, 33-34, 46, 50-52, 134-138, 147
creative freedom 64, 176, 178, 181-183, 198
creative industries 196-197
creative potential of convergence
culture 9, 37, 39, 103, 112-123
fan / user creativity 18, 24-25, 32, 37,
112-123, 126-127, 170, 178, 181-183
cuteness 125, 127, 188, 192, 193
Darwin, Charles 33, 35-37, 46, 193
deixis 161, 165, 166
Doyle, Sir Arthur Conan 134-139, 144, 145,
147, 153
drillable texts 25, 145, 148
economy
economics in adaptation studies 32, 44,
52, 172
economic capital 92, 151, 189
economy of fan creations 18, 20
economic modernity and money 185-186
economic structures and interest of the
media and adaptation industry 8,
19-20, 52, 93, 105, 172, 176, 183, 196, 212,
214 n.46
neo-liberal economy see neoliberalism
transformation of the economy 9, 22, 52,
152, 189, 191-192, 195, 197
Elliott, Kamilla 31, 138, 147, 153
emotions
emotional connection to fictional
works 75, 78, 82, 145
emotional depth of characters and
narratives 66, 145
emotional (self-)regulation in the neoliberal
market 193, 195
enlightenment 140, 215
faithfulness see fidelity
fandoms 19, 20, 58-60, 62 n.12, 63-66, 69, 71
n.39, 73, 75, 76, 78-79, 81, 88, 92-94, 96, 101,
104, 105, 114, 134, 145, 146
fanfiction 9, 15, 17, 19, 23, 41, 57-82, 146, 164,
165
comparison between fanfiction and source
texts 69, 73-74, 82
slash fiction 20, 153
fans 10-11, 13, 15, 17-25, 32, 45, 47, 50, 57-82, 88,
92-94, 96, 99, 101, 103-105, 114, 116-117, 134,
137, 141, 144-149, 153-154, 165, 171-172, 176,
183-184, 193-194, 197
“bad” fans 25, 137, 146-150
fan reviews 63-67, 82, 102, 167
fan productions 23, 113-114, 117-118, 121-122,
126, 131-132; see also fanfiction
feedback loops 16, 23, 44, 47, 78, 80, 125, 164,
165, 167
Fetishization of cultural texts by audiences 47, 96, 148
fictional universe see fictional worlds
fictional worlds 11-14, 26, 33, 38, 41, 58, 60,
61-63, 65, 73, 78-82, 144, 159-172, 178-183, 188,
194, 196-197, 205-206
fictional worlds in video games 197, 206,
209, 218-219
(in)consistency and contradictions in
fictional worlds 25, 160-162, 165-167,
170-172, 187
fidelity 19, 31, 33, 34, 46, 47, 50, 65, 94, 112, 119,
138, 145, 147
Fifty Shades of Grey 23, 57-60, 68-69, 73,
80-82; see also James, E.L.
franchises 11, 13, 21-23, 25-27, 40, 58, 60, 63,
66, 70-71, 78, 81, 88, 90-92, 94, 96-97, 101,
103-105, 120, 160-172, 176, 178, 180, 182-184,
197-198, 204, 206-207
brand identity and management of
franchises 22, 68, 78, 127, 137, 153, 170,
182, 184, 188 n.26, 209, 215
franchise adaptations 40, 172, 182 n.13
franchise storytelling 11, 161-163, 169-170, 180
Game of Thrones 10, 21
games
board games 21, 164, 165, 166, 169 n.26
children’s games 189, 195
gamification 193
video games 9, 13, 15, 16, 17, 18, 21, 26, 35,
41, 59 n.5, 60, 61, 70, 81, 161, 163-166, 165,
AdAptAtion in the Age of MediA ConvergenCe
commenting in participatory culture 16
n.20, 63, 64, 66-67, 74, 82, 114, 120, 123,
125, 127, 148
authorial comments by Sherlock lead
writers 134-135, 138, 149 n.64, 150, 152
companies see media companies
complexity theory 34, 37, 42, 44, 47
computer games see video games
consoles see video games
conspiracy theories 146, 206, 216-218, 221
consumers 8, 9, 14, 15, 16, 24, 92, 115, 169, 176,
183, 184, 189, 194, 197
control
corporate and authorial control 8, 19, 22,
25, 26, 93, 96, 116, 120, 133-154, 160, 163,
167-172, 194-195
control of (fan)creators 63-64, 78, 96
human control over the adaptation
process 40, 46-47, 51
convergence culture 8-11, 14-18, 20-24, 27,
32-37, 40-41, 44, 46-47, 51-52, 81, 88, 92-93,
160-165, 169, 176, 180, 196-197, 210 n.27
convergence environment see adaptation
environment
copyright 26 n.37, 47, 64, 68, 71, 72, 78, 79, 82,
89, 97, 101, 104, 117, 164 n.13
Corporate models 183-184, 186, 189, 191, 194-196
cover songs 15, 16, 24, 40, 111-128
comparison between different versions of
cover songs 112-113, 115, 116, 120, 123
creativity
creativity of writing and adaptation process 13, 33-34, 46, 50-52, 134-138, 147
creative freedom 64, 176, 178, 181-183, 198
creative industries 196-197
creative potential of convergence
culture 9, 37, 39, 103, 112-123
fan / user creativity 18, 24-25, 32, 37,
112-123, 126-127, 170, 178, 181-183
cuteness 125, 127, 188, 192, 193
Darwin, Charles 33, 35-37, 46, 193
deixis 161, 165, 166
Doyle, Sir Arthur Conan 134-139, 144, 145,
147, 153
drillable texts 25, 145, 148
economy
economics in adaptation studies 32, 44,
52, 172
economic capital 92, 151, 189
economy of fan creations 18, 20
economic modernity and money 185-186
economic structures and interest of the
media and adaptation industry 8,
19-20, 52, 93, 105, 172, 176, 183, 196, 212,
214 n.46
neo-liberal economy see neoliberalism
transformation of the economy 9, 22, 52,
152, 189, 191-192, 195, 197
Elliott, Kamilla 31, 138, 147, 153
emotions
emotional connection to fictional
works 75, 78, 82, 145
emotional depth of characters and
narratives 66, 145
emotional (self-)regulation in the neoliberal
market 193, 195
enlightenment 140, 215
faithfulness see fidelity
fandoms 19, 20, 58-60, 62 n.12, 63-66, 69, 71
n.39, 73, 75, 76, 78-79, 81, 88, 92-94, 96, 101,
104, 105, 114, 134, 145, 146
fanfiction 9, 15, 17, 19, 23, 41, 57-82, 146, 164,
165
comparison between fanfiction and source
texts 69, 73-74, 82
slash fiction 20, 153
fans 10-11, 13, 15, 17-25, 32, 45, 47, 50, 57-82, 88,
92-94, 96, 99, 101, 103-105, 114, 116-117, 134,
137, 141, 144-149, 153-154, 165, 171-172, 176,
183-184, 193-194, 197
“bad” fans 25, 137, 146-150
fan reviews 63-67, 82, 102, 167
fan productions 23, 113-114, 117-118, 121-122,
126, 131-132; see also fanfiction
feedback loops 16, 23, 44, 47, 78, 80, 125, 164,
165, 167
Fetishization of cultural texts by audiences 47, 96, 148
fictional universe see fictional worlds
fictional worlds 11-14, 26, 33, 38, 41, 58, 60,
61-63, 65, 73, 78-82, 144, 159-172, 178-183, 188,
194, 196-197, 205-206
fictional worlds in video games 197, 206,
209, 218-219
(in)consistency and contradictions in
fictional worlds 25, 160-162, 165-167,
170-172, 187
fidelity 19, 31, 33, 34, 46, 47, 50, 65, 94, 112, 119,
138, 145, 147
Fifty Shades of Grey 23, 57-60, 68-69, 73,
80-82; see also James, E.L.
franchises 11, 13, 21-23, 25-27, 40, 58, 60, 63,
66, 70-71, 78, 81, 88, 90-92, 94, 96-97, 101,
103-105, 120, 160-172, 176, 178, 180, 182-184,
197-198, 204, 206-207
brand identity and management of
franchises 22, 68, 78, 127, 137, 153, 170,
182, 184, 188 n.26, 209, 215
franchise adaptations 40, 172, 182 n.13
franchise storytelling 11, 161-163, 169-170, 180
Game of Thrones 10, 21
games
board games 21, 164, 165, 166, 169 n.26
children’s games 189, 195
gamification 193
video games 9, 13, 15, 16, 17, 18, 21, 26, 35,
41, 59 n.5, 60, 61, 70, 81, 161, 163-166, 165,