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299 Epilogue The elements of pastiche and homage to the author in the Journey 3D series were the result of the widespread availability of Verne to smallscreen viewers. Narratives could be integrated in fresh ways, and newly published stories that appeared in English for the first time could be tapped into. So, too, novels retranslated, often complete for the first time in English, would inspire filmmakers from the 1997 telefilm and miniseries of Twenty Thousand Leagues under the Seas to the 2005 version of The Mysterious Island. In 1914, Verne films had been affected by their stage versions; in the 1970s animated adaptations had been influenced by comic books; and by 2012 Verne films would be impacted by video game adaptations as the range of intertextuality steadily increased. During the twentieth century, a canon of Verne films has served to introduce the author to new audiences, not only English speakers but also non-English speakers around the globe, creating a benchmark by which subsequent films were constantly compared. 20,000 Leagues under the Sea (1954), Around the World in 80 Days (1956), Journey to the Center of the Earth (1959), Master of the World (1961), Mysterious Island (1961), Five Weeks in a Balloon (1962), In Search of the Castaways (1962), the 1989 miniseries Around the World in 80 Days, and the 1997 telefilm 20,000 Leagues under the Sea had become staples of television broadcasts and video releases. Journey to the Center of the Earth 3D and Journey 2: The Mysterious Island demonstrated how the canon need not stultify but might suggest new approaches. In many cases, foreign productions have equaled or bested Hollywood efforts, as in adaptations of Five Weeks in a Balloon and The Jangada. Others have a surprising amount of commonality with their 300 Hollywood Presents Jules Verne American counterparts, making similar narrative choices, as in several European versions of Master Zacharius, but some cinematic stories have yet to be adequately brought to the screen in any nation, such as Hector Servadac. In other countries, filmmakers have successfully adapted stories that would seem promising for Hollywood but have been overlooked , from the chronicle of invisibility The Secret of Wilhelm Storitz to the tale of an underground city in The Black Indies. Formula has often twisted adaptations into avenues for which they are not suited. Robert Halmi Sr. inflicted major love subplots on his Hallmark renditions of Verne—the 1997 telefilm 20,000 Leagues under the Sea, the 1999 miniseries Journey to the Center of the Earth, and its 2008 telefilm remake. His view was that such a romance was essential, saying that Verne “was far less interested in telling a dramatic story than he was in just exemplifying science. The stories were never really strong dramatically.”1 His remarks almost precisely echo those of Alfred Zimbalist , producer of Valley of the Dragons (1961), who said, “One thing about Verne . . . whatever you say about his imagination and his genius, he just did not have a good story line.”2 Yet as frequently as such logic is found, it is far from dominant, whether in feature filmmaking, television , or animation. Verne stories continue to offer a fertile field for the film industry. Many exciting Verne adventures, such as Mistress Branican and Wonderful Adventures of Master Antifer (1895), remain completely untapped, and there are more. The Will of an Eccentric, featuring a race in the style of Around the World in Eighty Days, except across America rather than the globe, would seem an obvious television miniseries, a natural in this country. So would The Hunt for the Meteor, with its American protagonists and science fiction theme, so much more probable and original than other recent cinematic treatments of objects from space endangering the earth. Family without a Name (1889) dramatizes the roots of the struggle for Quebec nationalism. With all the publicity that surrounded its discovery and its deep cynicism commensurate with modern dystopias, Paris in the 20th Century remains unfilmed. So does the futuristic Propeller Island, with its portrayal of how a potential technological paradise for the superrich is destroyed by the reemergence of national, ethnic, and religious hatreds. Epilogue 301 The Steam House, with its historical setting and automated elephant, would be the ultimate steampunk adventure and could now be brought to the screen with convincing special effects or through animation. In a time when creationism and evolution remain at the focus of debates, The Aerial Village would seem a natural, and Adventures of the Rat Family is...


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