We are an open and inclusive collective of student artists and student entrepreneurs who band together for social contacts, artistic education and stimulation, entertainment and all things pertaining to the advancement of our dreams and careers in media, journalism, film, television, music, sound and video recording and distribution, set design, costume design, lighting design, concert, online innovations, photography, architecture, mixed and multi-media and dramatic performance.
The UK’s hottest new hub for the training of tomorrow’s creative industry professionals was officially launched by a host of well-known faces at a glittering event in Cardiff last week, 29th November 2007.
‘ATRiuM’ is the name for the building which is the city centre home to the University of Glamorgan’s Cardiff School of Creative & Cultural Industries.
The new School brings together the creative disciplines within the University of Glamorgan, including Art & Design, Media & Communication and Drama & Music.
Celebrities and leading professionals from across the creative industries were guests on the red carpet for the launch event which will showcase the state-of-the-art building.
The evening was compered by actress Sian Phillips and presenter Rhodri Owen who took guests through an evening packed with entertainment.
Performances were given by well-known harpist Catrin Finch and vocalists Elin Manahan and Daisy Blue who was accompanied on the piano by her father Mal Pope.
Professor Peter Robertson who is the Dean of the new faculty commented, “This high-tech teaching environment provides undergraduate, postgraduate and research degree programmes and will be the largest single university initiative for the creative and cultural industries in the UK.”
Also joining in the celebration was the faculty’s new board of visiting Professors which include some of the biggest names in the creative industries.
This advisory board, headed by industrial designer, Professor Nick Butler OBE, will be made up of actor Daniel Evans, composer Karl Jenkins, animator Robin Lyons, film director Marc Evans and theatre director Terry Hands. Profiles
Messages of support from actors Matthew Rhys and Jonathan Pryce and Welsh band The Lost Prophets were read on the evening.
The multi-million pound facility stands as an architectural icon in the city, as well as a platform for a mix of teaching and research in the theory and practice of media, design and cultural studies.
As well as high-tech teaching and learning spaces and facilities, academics and practitioners from a broad range of subject areas work together in an exciting environment geared to sharing expertise.
Professor Peter Robertson added, “This Faculty is a major development for Wales and the UK and has attracted enormous interest from the media industry, arts and cultural organisations.
Both the Faculty and the campus are being seen as a focus for the creative industries in Wales and we will be producing the professionals of the future to work in these economic growth sectors.”
Some facts about the building:
- The ATRiuM is a £35 million development. It is a 5 storey, 10,500 square metre facility. – It is a faculty for approx 2000 students and 120 staff. – The building contains a cinema, TV, radio and film production facilities, design studios, theatre and performance spaces, photography and journalism spaces, animation studios and computer labs.
The first issue of this new Journal of Adaptation in Film and Performance has just been published by Intellect.
It is edited by Richard Hand and Katja Krebs with the help of Martha Minier and marks a step forward for Cardiff School of Creative & Cultural Industries (CCI/ATRiuM) in having an internationally refereed journal coming out of the faculty.
This is a fantastic achievement and is recognition of CCI/ATRiuM's growing stature in this field of research.
Editors: Richard J. Hand University of Glamorgan rhand[at]glam[dot]ac[dot]uk
Katja Krebs University of Glamorgan kkrebs[at]glam[dot]ac[dot]uk
Adaptation, or the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries.
In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries.
Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
Aims and Scope:
Adaptation in the form of the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries.
In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries.
Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
As an academic discipline, Adaptation Studies has begun to establish itself in the last few decades as an important area of scholarship and research which continues to make significant contributions to our analysis and understanding of a complex and increasingly diverse world culture.
Journal of Adaptation in Film & Performance is a new, peer- reviewed journal designed to engage with specific issues relating to performance on stage, film, television, radio and other media.
Embracing comfortably these disciplines under the umbrella of adaptation theories and practices, it attempts to challenge widespread views of national cultural histories and global constructions of performance culture by analysing methods, histories and occurrences of adaptation across a range of media.
We would like to invite contributions that offer historical, theoretical or practice- based considerations and discussions of adaptation in performance in the context of one of the following topics:
Translation as adaptation / Theatre / Film / Television / Radio / Gaming / Graphic narratives Submission Details
To submit to future editions, please, send your completed papers (4,000 – 6,000 words) accompanied by a short CV to the editors Richard Hand and Katja Krebs.
If you would like to discuss any specific proposals before submitting a completed paper, please contact the editors.
Short ‘Notes and Comments’ contributions (up to 1000 words) that facilitate debate and exchange will also be considered.
Articles in the current issues include:
Art of the Past: Adapting Henry James’s The Golden Bowl Authors: Sarah Artt
Adaptation as Education: A Lady Macbeth of the Mtsensk District Authors: Freda Chapple
In Praise of Treason: Translating Calabar Authors: Pedro de Senna
Uncle Tom’s Cabin as Dominant Culture Authors: Jim O’Loughlin
Translating the City: A Community Theatre Version of Wim Wenders’ Wings of Desire in Newcastle-upon-Tyne Authors: Duˇska Radosavljevic
It has been estimated that an overwhelming percentage of Welsh films and television dramas are intentionally based upon other literary sources.
This overwhelming dependence upon literary adaptation is primarily from important Welsh literary or cultural sources.
This suggests an attempt to ‘recall and recollect’ and to re-‘write the nation’, after a period of suppressed or neglected representations of Welsh-ness.
While Dave Berry’s book and other studies have attributed this Welsh dependence upon literary adaptation as ‘laziness’ (Berry 1994: 234), we see it as being related to issues of post-colonial ‘re-telling’ of a national story, or more related to the economics of production.
For example, Stephen Bayly directed Joni Jones (1982) as a well-received television series for S4C, an adaptation based upon the well-known children’s stories by R. Garallt Jones entitled Gwared y Gwirion or ‘Redemption of the Innocents’.
It is often the case in Wales, that directors will create a series which is actually suited to be converted into a feature film at a later date, should the funding and political will be present to effect the re-formatting.
Additionally, one of Wales's most famous sons is Andrew Davies, who is known around the world as the 'Prince of Adaptation'.
Andrew Wynford Davies (born September 20, 1936 in Rhiwbina, Cardiff, Wales) is a British screenwriter.
He is the creator of the children's Marmalade Atkins television series and A Very Peculiar Practice, and is also well known for his adaptations of classic works of literature, including the 1995 television adaptation of Pride and Prejudice starring Colin Firth and Jennifer Ehle and the 1998 adaptation of Vanity Fair.
Literary and stage adaptations have added clout with film production investors, who assume that a successful novel or stage play will naturally make a successful film.
Some screenwriters have been known to 'invent' a novel AFTER writing a film script, for purposes of marketing the film, and for raising venture capital.
In small nations, broadcasting drama department Commissioning Editors often opt for an adaptation. This satisfies several remits: nationalistic and cultural agendas are fulfilled, while it's assumed that an established audience exists for the new film or TV series.
My favorite book on film and literature in general is Tom Corrigan's 'Film & Literature' (1999, Prentic Hall Inc / Simon & Schuster).
Here's a pleasant Youtube tribute to Colin Firth in Pride & Prejudice:
'Adaptation: Studying Film and Literature' (Paperback) by John Desmond (Author), Peter Hawkes (Author) is concise and readable new text for courses in Film Adaptation or Film and Literature introduces students to the art of adapting works of literature for film.
'Adaptation' describes the interwoven histories of literature and film, presents key analytical approaches to adaptation, and provides an in-depth overview of adaptations of novels, short stories, plays, nonfiction, and animation.
The book concludes with an analysis of why adaptations sometimes fail.
For additional info please contact Dr. Mark Leslie Woods at mwoods[at]glam.ac.uk
