ABSTRACT
An increased interest in adaptation studies in the early 21st century has generated countless discussions about rethinking adaptations as well as the field of adaptation studies as a whole. The impression has often been voiced, for instance by Thomas Leitch in his essay for the inaugural issue of the journal Adaptation, that adaptation studies is “at a crossroads,” in which its methodology and material are in transition from the discipline’s humble novel-to-film-studies beginnings to a broader, if somewhat unclear, future. 1 As part of a moment in the field’s history, in which scholars repeatedly state ambitious research agendas, Linda Hutcheon has likewise described adaptation studies as moving “well beyond [its] familiar film/ performance focus” and on to readings that highlight the politics of our time, the “indigenization” of adaptations, and approaches that question notions of priority and anteriority in unprecedented ways. 2
