Annabelle Murphy Annabelle Murphy i(9615977 works by)
Gender: Female
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1 The Potential of the Exegesis and the Challenge of Symbiosis Katrina Finlayson , Jeri Kroll , Annabelle Murphy , 2017 single work criticism
— Appears in: TEXT Special Issue Website Series , no. 44 2017;

'The three contributors to this article believe that a symbiotic relationship between creative and critical aspects of a project function most effectively. Research for the exegesis – whether conventional or experimental – can enhance the creative work’s possibilities, raising more pertinent research questions or refining those already identified. In addition, the thesis as a coherent entity has the potential of making an original contribution to knowledge through the connection of the exegesis and creative work. The case study dissertations demonstrate this point of view, occupying two positions on Krauth’s ‘radical trajectory continuum’ (2011). The first graduate, a filmmaker and academic, chose a conventional exegesis-novel split, as the subject itself, reverse adaptation of a film script to literary young adult novel, is an emerging research discipline. The second candidate chose a braided essay format (Krauth’s ‘plaited’ structure) that reflects the research she undertook into theory of the Uncanny and the consequent destabilisation and fragmentation it encourages. The supervisor as fellow traveller of these doctoral journeys drew on her experience in order to help them to select the most effective thesis structure and to realise the potential of symbiosis. They discovered that in each case the resultant symbiosis did not silence their individual voices but enhanced their individuality.' (Publication abstract)

1 The Rosie Project : Discussions with Graeme Simsion on Reverse Adaptation Annabelle Murphy , 2016 single work criticism
— Appears in: Journal of Screenwriting , March vol. 7 no. 1 2016; (p. 83-98)
'Graeme Simsion’s internationally best-selling novel, The Rosie Project (2013a), began life as a romantic comedy script that nobody wanted. One year later, having ‘reverse adapted’ his screenplay into a novel, The Rosie Project (2013a) was on the New York Times best-selling list and swiftly sold to 40 territories around the world. This article, based on my discussions with screenwriter and author Graeme Simsion, and informed by my own practice-led research into ‘reverse adaptation’, will examine this little discussed manifestation of screen adaptation. What are the creative challenges facing the screenwriter in taking on the ‘opposite’ of a traditional adaptation? How do professional and industrial conditions differ for the screenwriter undertaking a reverse adaptation? Why even begin a reverse adaptation? This article also briefly contextualizes reverse adaptation as belonging to the greater contemporary ‘ecology’ of transmedia adaption, and places it in relation to the commercial novelization.' (Publication abstract)
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