New Transmedia Adaptations of Classic Literature

Abstract

In this thesis, I analyse new transmedia adaptations and their format. I argue both for the importance of their work as a new, innovative way of storytelling, as well as a novel approach to adaptation. I propose that, though impermanent, they represent an important moment in adaptive practices. Lizzie Bennet Diaries originated the new format. The success of the series, evidenced by an Emmy award, encouraged both its producers and other, independent creators to adopt the new format. The basic format of a web series includes a narrative told mainly through YouTube videos and supplemented by content on other social media platforms, all posted supposedly by the characters. The audience is invited to interact with them directly as if they were real people. At the same time many creators choose to also interact with the audience directly, rather than through their characters. Creators of crowdfunded adaptations invite the viewers to financially support the series and even to become producers. Thus, web series must maintain a careful balance between reality and fiction. I argue that to fully analyse an adaptation, it must be treated as a process, as a product, and as an act of reception. Through this approach, I identify seven key elements of a successful new transmedia adaptation, one that is believable and engages the audience enough to reach its conclusion. In the first chapter, I present an overview of the theories necessary for the analysis of new transmedia adaptations, developing ideas around adaptation, intertextuality, networks of texts, franchises, and new media. In the second chapter, I examine the works by Pemberley Digital, examining how the company created and developed the new format. Using theories I connect together in Chapter 1, I analyse each work in turn, beginning with Lizzie Bennet Diaries. The format was then changed and developed in each of the subsequent adaptations: Welcome to Sanditon, Emma Approved, and Frankenstein MD. In the third chapter, building on the analysis of format in Chapter 2, I analyse independent adaptations, focusing on In Earnest, Nothing Much to Do, and Nick Carraway Chronicles, adding examples from other notable series. In the fourth chapter, I interrogate crowdfunded adaptations. I argue that this method of funding a series adds another element to the format of a new transmedia adaptation, changing how audiences experience it. I examine how each series navigates the tension between fiction and reality by analysing The Autobiography of Jane Eyre, Green Gables Fables, and The New Adventures of Peter and Wendy. In this thesis, I present new transmedia adaptations as a new and innovative phenomenon in adaptive practices. I adapt existing theoretical approaches to create a new frame- work for the analysis of web series and use it to interrogate key examples of the format. I propose that my approach not only highlights this interesting moment in adaptation but also creates opportunities for further study of other adaptations.

Date of Award	1 Aug 2025
Original language	English
Awarding Institution	The University of Manchester
Supervisor	Joanna Taylor (Supervisor) & Jerome De Groot (Supervisor)