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This essay highlights the shared critical terrain of adaptation and nostalgia: how they critically juxtapose the past with the present, and how they underscore the impossibility of return while also relying on prior experience. It also explores nostalgia’s effect on personal responses to adaptations and its interaction with textual form. Drawing from various areas of literary, media, and performance studies, including film adaptations of children’s literature, Watchmen and its screen adaptations, and Disney’s live-action remakes, this essay underscores how both nostalgia and adaptation are inherently multivalent concepts, and how they each rely on perspective to generate critical meaning.

After her passing in 2019, French director Agnes Varda left a pioneering, deeply personal oeuvre. Her connections and collaborations had always influenced her work: her marriage to Jacques Demy, her status as “mother” of the French New Wave, her co-directorship with artist JR. The personal reflections in her final documentaries, particularly The Beaches of Agnes (2008) and her final film Varda par Agnes (2019) invite new consideration of these sometimes friendly, sometimes fraught relationships between Varda and the men who made films around and alongside her. In undertaking this reconsideration, this essay poses broader questions about Varda’s legacy and examines what both film studies and popular cinephilia can learn from her singular, feminine approach to screen art.

Commissioned research was undertaken to explore the role of networks in supporting large-scale change and improvement. Participatory action research and social network analysis were used to study the BC Sepsis Network. Findings of this research include insights into distributed leadership, enablers and barriers within a network approach; the importance of relationships and trust; and the need for meaningful and timely data. Recommendations are made for health leaders who are considering utilizing networks for improving patient quality and safety.

Health care in general, and surgical care specifically, is a team sport. To provide optimal patient care and enjoyment at work, teamwork and communication within surgical services benefit from deliberate development. This chapter describes the characteristics of highly effective health care teams and what is required of team members. Overall team performance is affected by the skills of members, the clarity of the team's goals, and the effectiveness of the interlaced activities of members. Teams practice and learn. Effective teams provide safer care. In addition to the capabilities of teams, the system(s) in which the teams work and the culture of the workplace directly affect team performance and their patient care outcomes. This chapter provides an overview of the systems and culture as they affect teams and describes an approach to measurement of team communication and safety culture that goes beyond the assessment of the collective technical competence of the team. The authors describe their experience in using the Safety Attitudes Questionnaire and the NOTECHS nontechnical skills framework to assess the culture of the surgical environment and surgical teams.

Marjane Satrapi's Poulet aux prunes offers an intriguing example of self-adaptation from comics to live-action film. This essay will consider how the Franco-Iranian Satrapi, within her dual role as self-adapter and transnational filmmaker, uses intertextuality and remediation beyond her own source text in ways that pointedly expand the transnational resonance of her film. These narrative and aesthetic strategies also extend to the film's paratextual discourses, namely, the extras available on the French DVD release of the film. The book, film, and DVD paratexts related to Poulet aux prunes thus form the core of this discussion of self-adaptation and transnationality. © The Author 2014.

Chapter 10 Known for making movies about movies, writer-director Quentin Tarantino reached new heights of Oscar success with the intertextual war film Inglourious Basterds (2009) and the allusive representation of slavery in Django Unchained (2012). This chapter examines both films through the lens of industry recognition by looking at how the history of writing awards at the Academy indicates a shifting relationship to the kind of multi-sourced, cinema-focused adaptation that Tarantino undertakes. The categorization of Tarantino’s writing under ‘Original Screenplay’ shows how contemporary awards culture defines both adaptation and originality, while his success with awards voters has started new cycles of prestige and pushed industry focus away from conventional representations of war and white-centred representation of race relations.

The centennial of World War I has turned a great deal of scholarly attention to reframing that epochal moment in history. In French Cinema and the Great War, editors Marcelline Block and Barry Nevi...

$25.00 paper.This collection of thoughtfully curated, impeccably translated interviews with director Agnes Varda offers useful context for a cresting wave of renewed interest in her eclectic oeuvre...