How The Pink Panther came alive and how The Thin Man grew fatter

Hungry franchises and the adaptation industry
dc.bibliographicCitation.firstPage149en_US
dc.bibliographicCitation.issue2en_US
dc.bibliographicCitation.lastPage162en_US
dc.bibliographicCitation.volume13en_US
dc.contributor.authorSchwanebeck, Wieland
dc.date.accessioned2021-08-12T14:57:23Z
dc.date.available2021-08-12T14:57:23Z
dc.date.issued2020en_US
dc.description.abstractWhile entertainment franchises are usually not associated with engaging in adaptive work in the traditional sense of the term, the sheer necessity of creating new material for serialised properties makes adaptive work a necessity. Frequently, franchises will absorb other material, an aspect that has so far been neglected in studies of what Simone Murray calls the ‘adaptation industry’. This article discusses two entertainment properties that made a habit of lapping up cinematic trends and other properties in order to feed their appetite as ‘hungry franchises’: the Thin Man series (1934‐47) and the Pink Panther films (1963‐2009). They exhibit similar adaptive strategies to reconcile contemporary audience expectations and industrial trends with their needs as profitable studio properties. In the process, they also show somewhat Frankenstein-like tendencies towards monstrosity, eventually turning against their own creators.en_US
dc.identifier.doi10.1386/jafp_00023_1
dc.identifier.urihttp://resolver.sub.uni-goettingen.de/purl?fidaac-11858/1094
dc.language.isoengen_US
dc.relation.issn1753-6421en_US
dc.relation.journalJournal of Adaptation in Film & Performanceen_US
dc.rightsL::CC BY-NC 4.0en_US
dc.subject.ddcddc:791en_US
dc.subject.ddcddc:810en_US
dc.subject.fieldamericanstudiesen_US
dc.subject.fieldfilmstudiesen_US
dc.subject.fieldliterarystudiesen_US
dc.titleHow The Pink Panther came alive and how The Thin Man grew fatteren_US
dc.title.alternativeHungry franchises and the adaptation industryen_US
dc.typearticleen_US
dc.type.versionacceptedVersionen_US
dspace.entity.typePublication
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