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Shabrina An Adzhani
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Fakultas Adab dan Bahasa UIN Raden Mas Said Surakarta Jl. Pandawa, Pucangan, Kartasura Sukoharjo 57168, Jawa Tengah Indonesia
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CrossOver:Journal of Adaptation Studies
Published by Universitas Islam Negeri Raden Mas Said Surakarta
ISSN : 27986829     EISSN : 27985148     DOI : 10.22515/c.v
Core Subject : Humanities, Education,
Humanities Languange, Linguistic, Communication & Media
CrossOver Journal of Adaptation Studies is an open-access journal published by the English Letters Study Program, Faculty of Cultures and Languages, UIN Raden Mas Said Surakarta. CrossOver is a venue for literature, linguistics, and translation studies scholars, and practitioners to discuss about adaptation investigated from the perspectives of the three disciplines. Articles can discuss the following topics of adaptation: Novelization, Film Adaptation, TV Series Adaptation, Comic Book Adaptation, Computer/Video, Game Adaptation, Dramatic Adaptation, Poetic Adaptation, Adaptation for Younger Audiences, Adaptation for Mature Audiences, Translation, Transadaptation, Transcreation, Fan Fiction, Song Cover, Localization, & Intertextuality.
Arjuna Subject : Seni dan Humaniora - Bahasa dan Linguistik
Articles 41 Documents
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WHEN HAIR TALKS: HOW HAIRSTYLES INFLUENCE THE PERSONALITY OF THE MAIN CHARACTER IN THE K-DRAMA ADAPTATION OF THE WEBTOON PERFECT MARRIAGE REVENGE Yusuf, Julia Absara; Saputri, Hanna Dorina Riska; Dewi, Sellyana Tungga
CrossOver Vol. 4 No. 1: June 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i1.9374

Abstract

Hair plays a crucial role in a woman's identity, serving both aesthetic and expressive purposes, and often reflecting personality traits (Cunningham et al., 1997). This study explores the changes of stereotypes associated with hair types and colors in the Korean drama adaptation entitled Perfect Marriage Revenge from a Webtoon series. Using Hutcheon's (2013) adaptation theory and Cunningham et al.'s (1997) insights on hair and personality, The research examines how haircolors in the drama adaptation differs from the original Webtoon series and how it affects the character’ss personality. Cunningham et al. (1997) suggested that hair colors influences characteristics: blonde hair is seen as feminine, attractive, and emotional, while brunette hair is linked to intelligence and structure. This qualitative study analyzes visual and textual data from both the Webtoon and K-Drama, employing a comparative method to identify differences in hairstyles and character portrayals. Findings reveal that Han Yi Joo's character undergoes a transformation influenced by changes in hair color in both the original and adapted works. The changes also happen in the personality of the same character, which means that the adaptation version takes in to account both hair color and its stereotype.
THE INTERTEXTUALITY OF CULTURAL REPRESENTATIONS AS SEEN FROM SPIDERMAN ACROSS THE SPIDER-VERSE (2023) AND MS MARVEL (2022) Sekarini, Siska Ayu Diaz; Khadija Albar Hanafi; Isna Shofiyani Fathoni
CrossOver Vol. 4 No. 1: June 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i1.9513

Abstract

This study aims to reveal the intertextual of cultural diversity of Spiderman Across the Spider-Verse (2023) and Ms. Marvel (2022). This study focuses on Spiderman characters: Miles Morales and Pavitr Prabhakar and also Ms. Marvel named Kamala in Ms. Marvel, social life and their surroundings. This study uses the theory from Kristeva (1989) to examine the intertextuality between the two films and representative theory from Stuart Hall(1997) to analyze the cultural representation of Spiderman Miles Morales, Spiderman Pavitr Prabhakar, and Kamala Khan. The researchers used qualitative research methods. Research results show that cultural representation in movies appears beyond superficial markers, incorporating meaning, signs and symbols that are relevant to the characters' backgrounds in society. Both films depict elements such as food, stereotypes, and religious norms that represent a specific culture or religion. However, both films clearly reflect traditional fashion symbols, musical instruments, language, traditions, decorations, and religious rituals. This intertextual exploration enriches the story and offers a more inclusive depiction of superheroes in a globalized worldThis study is expected to provide insightful and nuanced understandings of cultural representation in this modern era of globalization through the eyes of Spiderman Across the Spider-Verse (2023) and Ms. Marvel (2022).
BEYOND THE SCREEN: THE RETCONNING OF BLACK CHARACTERS IN POPULAR CULTURE MOVIES THROUGH THE LENS OF BLACKWASHING Lu'lu'a, Lu'lu'a; Asysyamil, Muhammad Fikri; Zain, Ahsan; Hanif, Dzulfikar; Ros, Gerry; Pratama, Rizky Viko
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.9356

Abstract

The portrayal and adaptation of characters in movies often reflect societal norms and values, with "blackwashing" emerging as a significant phenomenon. Blackwashing refers to casting black actors in roles traditionally portrayed by white characters, often as part of efforts to promote representation and address historical inequalities. This study explores the types of retroactive continuity (retcon) found in black characters within popular culture films through the perspective of blackwashing. The research employs Hutcheon’s (2013) adaptation theory, which conceptualizes adaptation as creative reinterpretation rather than mere replication, alongside Friedenthal’s (2017) retcon framework and Genette’s (1997) qualitative transformation theory for supplementary analysis. Using a qualitative approach, the study applies the documentation method for data collection and Spradley’s (2016) analysis technique. Seven adapted films (hypertexts) are compared to their original works (hypotexts), revealing three distinct types of retcon: reinterpretation, reinscription, and revision. These findings demonstrate how adaptation practices not only reshape narratives but also challenge traditional representations to align with evolving social values. The findings highlight how adaptation practices reshape narratives to address historical inequalities and enrich representation in media. This research contributes to the understanding of blackwashing as a tool for inclusivity and social progress in film adaptation. Future studies are recommended to explore blackwashing across diverse cultural contexts and genres to deepen insights into its impact on global representation and audience reception.
THROUGH OUR LENS: EXPLORING CULTURAL ADAPTATION OF MIRACLE IN CELL NO. 7 KOREAN FILM AND ITS INDONESIAN VERSION Fitriana, Annisa; Fiaunillah, Fariha Najda; Anggraeni, Changmia; Pitaloka, Wistiani Putri Diah; Anahita, Nuhla; Raharjo, Jasmine Aulia; Wijayanti, Estu; Sari, Ayu Puspita
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.9359

Abstract

This research enriches the rare discussion of adaptation especially related to representation of local culture in cross-border film adaptations. While many studies focus on narrative and thematic changes, in-depth analysis of how local culture, such as social values, traditions, and Indonesian identity are adapted in the story is still minimal. This research explores how Korean cultural elements in the film Miracle in Cell No. 7 are adapted into Indonesian culture and are adjusted to Indonesian values in the adaptation version. Using the theory of transstylization by Genette (1997) and the theory of seven cultural elements by Koentjaraningrat (1986), it was found that five cultural elements underwent changes, namely language, religion, knowledge system, living equipment, and livelihood system. This is not only because Korea and Indonesia basically have different culture but also influenced by the different religious landscape. This research contributes to the understanding of how Indonesian local culture is integrated in movie adaptations without changing the core of the original story.
FROM CULT CLASSIC TO MODERN HORROR: THE PLOT TRANSFORMATION OF PENGABDI SETAN (1980) AND PENGABDI SETAN (2017) Paradita, Zahra Intan; Haq, Maulaya Arinil; Fitriana, Alviatum Rizqi Eka; Amin, Ahmad Mutawakkil; Oktaviandini, Rachelina Nisa; Kausch II, Christopher J.
CrossOver Vol. 5 No. 1: June, 2025
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v5i1.9390

Abstract

To make the story of a movie relevant each year, movie producers try to remake their work into a new story that is relevant with the perspective of the people to attract a more comprehensive audience. Thus, to make the remake movie more relevant to audience development, producers occasionally need to change the narrative from hypotext (source) to hypertext (new adaptation). This research aims to analyze the narrative from plot transformation of the films Pengabdi Setan (1980) and Pengabdi Setan (2017). The study focuses on the changes in the plot of the movie Pengabdi Setan (2017), adapted from the film with the same title in 1980. This qualitative research is analyzed using both narrative transformation with plot as the focus in this study and Transtextuality, as conceptualized by Gerard Genette, which divides narrative transformation into four types: Transdiegetization, Transpragmatization, Transmotivation, and Transvaluation and divides Transtextuality into two types mainly augmentation and reduction to analyze the plot transformation between the source story and its remake, Pengabdi Setan (1980) into its remake movie, Pengabdi Setan (2017). Narrative transformation, especially plot transformation, using Freytag’s Pyramid that divides dramatic elements of a story into five parts, including exposition, rising action, climax, falling action, and resolution. The data are collected by watching and documenting the plot differences and then using Miles and Huberman (1994) for analyzing the data. The analysis reveals significant transformations in the plot of the remake movie, primarily through the strategies of reduction and augmentation. It is shown that augmentation is the most predominant strategy used in the Pengabdi Setan (2017), effectively transforming and elevating the plot while retaining the essence of the original story.
COUNT DRACULA, LOUIS DE POINTE DU LAC AND EDWARD CULLEN: THE ARCHETYPAL SHIFT OF VAMPIRES FIGURES ACROSS THREE ERAS OF ENGLISH LITERATURE Setiyawati, Bety
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.9933

Abstract

The research aims at finding out the archetype, archetypal shift and the dominant archetype of vampire figures: Count Dracula, Louis de Pointe du Lac and Edward Cullen. The methods used in this research is descriptive qualitative research, used documentation as the technique of collecting data. In this research, the researcher used Archetype theory by Margareth Mark and Carol Pearson and Linda Hutcheon’s theory of shifting to analyze the data. The result of this research showed that there were 137 data in total and are 10 of 12 total archetypes. The analysis on the archetypal shifting classified were; 8 archetypes uses historicizing and 129 dehistoricing.  15 archetyes uses racializing and 122 archetypes uses deracializing. 9 Disembodiments and 3 embodiments. It is found that each figure has a different orientation of characterization depicted its own zeitgeist.  Count Dracula a vampire from Victorian era has a clear characterization of a ruler. Contrastingly, Louis de Pointe du Lac of post-modern era has an ambigous personality of being good ‘evil’ and is bond through his past. Differently, A vampire of Contemporary era, Edwrad Cullen, has an obvious characterization as a lover with 2 dominant archetypes takes 66% of the data. Furthermore, the dominant archetype of the data is the Lover which takes 30% of the data as both Louis and Edward created in the era where there is no distinguish point of being good and evil. Keywords: Vampire, Archetype, Archetypal Shift, Characterization. 
THE IMPACTS OF SUPERHERO LOCALIZATION ON CHARACTER EQUIVALENCE AND NARRATIVE IDENTITY Nurul Baroroh Al Munawaroh; Al Hadi , Shofiana
CrossOver Vol. 5 No. 1: June, 2025
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v5i1.10164

Abstract

Strong influence from superhero is inspiring many sides to localize or create similar product by applying specific social culture. The phenomena of superhero localization can be seen through the product of Spiderman in Japan which uses the famousness of robot technology, creating Spiderman in robot shape. In India, Spiderman is localized using India’s cultural costume, and in Indonesia, Spiderman is localized into comic entitled “Laba-Laba Merah” that has extremely different aim from the original. Another Indonesian localization product is the Sitcom of Superhero Kocak produced by E-Motion Entertainment, which has not been discussed previously. Therefore, this research aimed to explore and reveal the localization strategy, the impacts on character equivalence, and the applying particular dominant related to the character of Sitcom. Several theories used were Localization Strategies (Van Leeuween and Suleiman, 2010), Narrative Identity (Paul Ricoeur, 1992), Character Equivalence (Petrucci, 2012), Sitcom TV Genres (Brett Mills, 2009), and the characteristic of superheroes (Nachbar & Lause, 1992). A descriptive-qualitative method was used and data were collected through the captures of western superheroes’ films and Superhero Kocak. Specifically, the captures taken were those that provided the nine characteristics of superheroes (Nachbar & Lause, 1992). According to the 60 data obtained, the results showed that, first, all western superheroes were localized by applying narrative-visual localization strategy. Second, narrative-visual localization strategy affected character equivalence and narrative identity to be shifted. Third, particular dominant localization of narrative-visual was applied in regard to the character of Sitcom. In conclusion, the application of narrative-visual localization strategy formed changes in character equivalence and narrative identity towards superheroes. It also caused a shift in message and purpose between western superheroes and Superhero Kocak. Superhero Kocak became a parody with the purpose as mere entertainment for people.
FROM HAE CHAN TO HAIKAL: LOCALIZATION OF K-POP IDOL NAMES IN TWITTERATURE Naura Mukti Larasati; Amala Nadhifa; Amanda Putri Vebya; Pyeonggang, Choi
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.10278

Abstract

Alternate Universe (AU) on Twitter employs public figures such as K-pop idols as characters and localized their names. K-pop idols already possess global appeal, but localization helps integrate these figures into regional or cultural contexts, making stories resonate deeply with local audiences. Name localization in this context is about adapting names to fit different languages and cultures. This research aims to investigate the localization of a K-pop idol’s names in the context AU based Twiterrature in X platform, formerly Twitter. The focus is to see how localization of K-pop idol names is applied in Twitterature, addresses a significant gap in existing studies by exploring the intersection of localization strategies. To analyze it we used localization based on Lyons (1977), the idea that spatial expressions are more essential, grammatically and semantically than non-spatial expressions. In this context, spatial expressions are the different strategies used to localize each K-pop generation. In order to localize, name translation could be expressed through aleatory and intentional techniques. To analyze the data we used Spradley 4 step technique; domain analysis, taxonomy analysis, componential analysis, and cultural theme analysis. The primary findings in this research indicate that the author's choice of names was frequently influenced by random or arbitrary factors rather than a systematic or thematic rationale. This study aims to enhance understanding of how localization strategies function in Twitterature, specifically in adapting global cultural figures like K-pop idols into localized and culturally relevant stories.
CHARACTERS’ ENHANCEMENTS IN THE SERIES ADAPTATION OF LEAGUE OF LEGENDS Fadhillah, Muhammad Alif; Faiza, Anjania Muhammad; Subari, Afta Ikhlasul; Biela, Bening Salsa; Ibrahim, Yusuf
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.10908

Abstract

Arcane is a TV series adaptation from a game named League of Legends and was categorized as the best TV series in 2021. When many TV series adaptations take novel as its source, this adaptation becomes interesting to analyse because the source text is from a game. This research aims to find out the changes applied to the characters in the series adaptation using Linda Hutcheon’s adaptation theory, in which she mentioned that character is one of aspects often changed when a work is adapted into different form.  The Arcane is based on Zaun and Piltover's past, there will be so much to compare from the TV series and the game. Using qualitative method and spradley’s data analysis steps, this research reveal that changes are applied to the characters Vi, Jinx, and Caitlyn. These changes involve appearance, outfit, and ability, which gives more realistic and grounded effect to Arcane’s story. This is due to the different mode of engagement that Hutcheon calls from interacting to showing. With some adjustments made to the characters, the series are able to present engaging story and new audience.
I'LL NO LONGER BE A CAPULET: ARCHETYPAL SHIFTS IN THE MOVIE AND ANIME ADAPTATIONS OF SHAKESPEARE'S JULIET Futiha Alambarra Amaan Ahmada; Ntamwana, Simon
CrossOver Vol. 4 No. 2: December 2024
Publisher : UIN Raden Mas Said Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22515/crossover.v4i2.10930

Abstract

Adaptation is being a striking phenomenon that attracts many people because it tends to produce a different sensation of the source text. This research considers this phenomenon in order to reveal the shifts between the source text and the adaptation versions. The article is a comparative study that applies the archetypal theory. It sets out to reveal the similarities and differences with respect to the archetypes pertaining to the Juliet character in Shakespeare’s play, Romeo and Juliet, and its film and anime adaptations. The descriptive qualitative method is used to enable the researcher to do the interpretation and descriptive analysis. Moreover, the research uses the theory of structuralism and archetypal characters by Mark and Pearson. The theory of archetypal character draws from twelve primary archetypes to find and analyze the data through some dialogues and passages of the story. The archetype shifts in Juliet's character are identified by comparing three texts, including William Shakespeare’s Romeo and Juliet (second quarto version), Baz Luhrman’s Romeo + Juliet (1996), and Fumitoshi Oizaki’s Romeo x Juliet (2007). It is discovered that the archetypal character of Juliet shifts in the three analyzed texts. Based on the function of the character, the archetype of Juliet the Lover is maintained in Luhrmann’s Romeo + Juliet. Nonetheless, in Oizaki’s Romeo x Juliet, it changes into Juliet the Hero.

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