天美传媒

Project

Cross-media co-operation in Britain in the 1920s and 1930s

An AHRC funded project 112216.
W:

• PI: Professor Alexis Weedon, 天美传媒
• Co-applicant: Professor Simon Eliot, IES, 天美传媒 of London
• Research Fellow: Dr Vincent Barnett, 天美传媒
• Research Administrator: Rebecca Conway (2006/7) Steven Conway (2007/8)

Rationale

Today authors face the new challenge of cross-media storytelling as adaptations and spin-offs from their narratives are聽written for different media. Storylines originally published in novels or short stories are retold in films, and the characters'聽own stories are extended though videogames or via websites. Authors sources of income have diversified as subsidiary rights are exploited.聽

The origins of these practices lie in the first three decades of the twentieth century when film companies approached聽publishing companies to purchase film options on their novel copyrights. Authors responded with varying levels of聽enthusiasm, some seeing the potential of the new media, others preferring to stick to what they knew and employ others聽to do the adaptation.聽

This project examined early attempts at co-operation between media companies and publishers in the 1920s and 1930s聽particularly in the sale of broadcast rights, film options and in the timing and release of book, film and radio tie-ins. It聽researched the connections between these industries and the role played by literary agents in promoting their authors聽within the media. 聽

Focusing on British authors who had films made of their work between 1920 and 1939, the project examined relevant聽correspondence of literary agents (i.e. A.P.Watt, Hughes Massie, Curtis Brown, J. B. Pinker & Son), compared the rate of聽pay authors received from the different media, researched the business practices by agents and authors during the period聽and examined the implications of this on the status of authors. 聽

The aims were:聽

1. To identify the models of media co-operation in operation in the 1920s concerned with the promotion of an author's聽work 聽

Aim 1. Investigation of the models used by publishers, broadcasters and filmmakers in the 1920s revealed that each held聽different perspectives on: the value and agency of the author in the process of the adaptation of their work; what rights聽they should have in the enterprise and what share of the financial returns; and how each partner built a market or聽audience for each others work. Work on these three aspects is outlined below.聽

2. To analyse how and why these models changed during the 1930s and to assess to what extent this marked a聽historical shift in relations between the author, agent, film-maker and publisher聽

Aim 2. Through the 1920s the argument that publication in one form created a market for the work in another form gained聽ground. The effects are seen in the agreements made between partners. A systematic analysis of agreements between the authors and 19 publishers and 6 film companies identified characteristic clauses asserting rights and claims for聽revenue from audience they created. In addition research on the censors showed that they were alarmed by the聽cumulative effect of cross-media influence and cited it as a reason for distinguishing between the title of book and its聽movie adaptation.聽

3. To see how those models of media co-operation operated and how effective they were in developing markets for film聽and radio adaptations of an author's work throughout the 1920s and 1930s聽

Aim 3. Film companies at this time sought to use the cultural capital of published authors to attract audiences to their聽movies. Weedon's spatial information database plotted over 530 data from book sales, theatre and movie receipts聽charting the cross-media strategy of one work. Barnett examined Oswald Stoll's economic theories聽 and analysed how聽Stoll adapted the work of well-known British authors, focused publicity around an on-going film series format, and used聽authors on set to promote the film in a range of news publications. Weedon investigated how authors' and book trade聽associations were able to exert pressure on early BBC radio models of cross-media publishing in 1920s. Book publishers聽established their rights to be announced on radio and The Society of Authors negotiated a minimum of pay scale for the聽broadcast of published works.聽 Weedon researched the standard agreements and why they were contested by literary聽agents on behalf of their authors.聽

4. To examine the sales/receipts for such work in order to assess the effect of film and radio adaptations upon book聽sales and authors' income聽

Aim 4. Quantitative analysis of publishers' cheap editions of the authors works in the 1920s and 1930s聽 show the聽correlation between book sales, radio adaptations and film releases is more consistent after the second half 1920s. Over聽6200 records were collated by the team for analysis from 12 play companies, 21 book publishers, 8 periodical publishers聽and c.900 entries from film diaries. 聽

5. To examine the role of the Press in building audiences/readerships for the original work and its media adaptations聽

Aim 5. Barnett and Weedon designed a detailed, original and multi-disciplinary account of the contributions that Elinor聽Glyn made to cross-media cooperation in the UK and the USA. Barnett's idea that 'star capital' is of use in theorising聽author-celebrity and how this celebrity is used to promote cross-media outputs is further developed in the co-authored聽book on Elinor Glyn. The book signals Glyn's attempt to create a 'brand image' across her various literary enterprises as聽one of the first such attempts by a magazine journalist, novelist and screenwriter and Glyn's cross-media experiences are聽situated within the widen context of the development of new forms of multi-media company that had begun to come into聽being at the end of the nineteenth century.聽

6. To provide analyses that could productively inform the future research in this area.聽

Aim 6. Additional analyses that can deepen our understanding of the adaptation industry include: i. Barnett's quantitative聽model of the extent of cross-media adaptations. This evaluates the weight of cross-media outputs in an author's total聽output, by measuring the aggregate volume of adaptations from one form of media (eg. novels) into another form (eg.聽films) in any given time period using spreadsheets of author's cross-media outputs for all authors. ii. Weedon's linked cog聽model of adaptation. Developing Robert Darnton's Communications Circuit and Simone Murray's Industry model of聽adaptation, Weedon's model locates the audience/readership at the axis of cross-media adaptations.聽 It illustrates the聽effect of peritexts in building audiences and readerships for new adaptation.

The selected authors were: Marie Belloc, Arnold Bennett, Agatha Christie, Elinor Glyn, A.E.W Mason, Baroness Orczy,聽聽Philip MacDonald, Edgar Wallace, and Hugh Walpole. Other authors were brought in for comparative and statistical聽purposes.聽

The project consulted over 34 libraries and archives including those at the Universities of Reading and London, the聽天美传媒 of Texas and North Carolina at Chapel Hill, the British Library, the Library of Congress, the BBC archives聽relating to agents, authors and to arts review programmes, the press books and archives of British film production聽companies at the British Film Institute and other publishers' archives. In particular The Elinor Glyn Ltd archive held 46聽boxes of financial letters and scenarios which enabled the project team to research the company's business practices and聽Glyn's personal income as an author and film director.聽

The research focused on case studies of an author's work to ascertain the proportion of income from different media聽sources, sales of their work before and after film release and the extent of media coverage. Partial details were available聽for all authors. Secondly, it examined literary agents' correspondence for information about their policies in marketing and promoting an author's work and provided a basis for comparing different agents' operational practices and evaluating their聽success. Thirdly, the archives of the different media players - film companies, Society of Authors, publishers - were聽scrutinized for evidence of changes in policy on rights acquisition聽.