Genre and Narrative in Adaptation: Romance in Heartstopper from comic to live-action series

Abstract

This dissertation examines the impact of romance genre conventions on a comic narrative through utilising Heartstopper by Alice Oseman as an instrumental bound case study. This will be done by utilising the five-step “Transmedial Analysis Framework”, as set out by Bruhn and Schirrmacher in “Transmediation”. Through analysing how the narrative of the source media object, the webcomic Heartstopper, was transmediated and changed into the version in the target source media object, the Heartstopper Netflix show, we can see how various romance genre conventions have shifted and remained consistent. Due to Oseman's strong presence within both versions of Heartstopper, it is easier to understand her contributions. In the second step, we see how the transmedial shifts were done in a way that increases the presence of the side characters within the narrative by utilising Thomas Leitch's adjustment strategies. By contextualising what changes and similarities between both versions of Heartstopper are present due to medium-specific necessity, the larger presence of side characters in the Netflix show can be understood through the necessity of television storytelling. Even with medium-specific changes, we see how those changes work to take advantage of romance conventions, particular teen romance conventions, when expanding on the narrative. Genres are also understood by an audience through a perceived sense of expectations, meaning the ways in which a media object is marketed plays a large role in how it will be understood. As Heartstopper is a queer romance narrative, it is important to take into account how the teen romance tropes reflect on its existence as a queer story and how the Netflix show increases the presence of other side characters that also have queer identities. 6