| Summary: | This thesis explores the specific cross section of two fields of study: fan culture, and 'event film' adaptation (Mm'golis, 2009). Here, I put fonyard evidence of the shifting relationship between filmmakers and fans of a popular adapted wlork, and present new modes of engagement for the fans to the adaptation process facilitated by the Internet. This is an investigation of the pertinent research in the fields of adaptation studies (Naremore, 2000; Stam, 2005; Hutcheon 2006), and fan studies (Jenkins, 1992; Bacon-Smith, 1992; Jancovich, 2003; Booth, 2010) in the digital age. I also present my own practical, ethnographic research from film sets, working with a production company and a film funding body, The Film Agency of Wales, interviews, and fan events for analysis of practical application to provide evidence of the dialectical shift in the fan and filmmaker relationship due in large part to the Internet. I Fans now have unprecedented access to the filmmaking process due to digital media applications such as Facebook, Twitter, Pinterest, Tumblr, and the various fan sites and discussion boards that provide immediate information dispersal. The information-sharing abilities and marketing power of fans as well as their immediacy in organizing events and movements can be harnessed and utilized in the adaptation process of the event film . This is affecting filmmaking processes, as many are beginning to incorporate new practices for fan management into their procedures. This thesis examines relevant research on participatory communities, fan culture, and fan management, to argue the new and developing modes of fan interaction and fan influence on event film adaptation. This thesis concludes that the dialectical relationship between the fan and the filmmaker has shifted, as evidenced in the production of the event film
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