[Commlist] Literature/Film Quarterly 49.4 published (Special Issue: 'Watchmen, From Co-Mix to Remix')

We are delighted to announce the publication of the newest issue of 
/Literature/Film Quarterly/, a special issue dedicated to moving image 
adaptations of /Watchmen. /The full open-access issue is available here: 
https://lfq.salisbury.edu/index.html <https://lfq.salisbury.edu/index.html>
/
/The recent successes of HBO’s 2019 limited series adaptation of 
/Watchmen/ (1986-87) have reignited interest in the adaptability of the 
path-breaking original comics series by Alan Moore and Dave Gibbons, 
which to this day is routinely regarded as an ‘unfilmable’, 
‘unadaptable’ work. The perceived failures of Zack Snyder’s widely 
disparaged feature film adaptation in 2009—justified or not—are well 
documented. And the official /Watchmen/ motion comic (2008-2009), which 
was a curtain opener of sorts to Snyder’s film, now seems all but 
forgotten. By stark contrast, Damon Lindelof (a long-time self-professed 
fan) has gone to great lengths to devise and position his limited series 
to not be a direct adaptation of /Watchmen/. In 2018, the showrunner 
took to Instagram to share an impassioned five-page open letter in which 
he assured fans of the original comics that /his/ version—much as it 
might be seen as a remake, sequel, or even a requel—is best considered 
as a ‘remix’. And critical consensus is that Lindelof’s version does 
just that: pre-existent motifs and meanings are thrown together in a new 
context, a new set of relations, a new recipe that has spoken in 
profound ways to the current political climate in the U.S. and the world.

Lindelof’s remix as the latest chapter in the moving image afterlives of 
Watchmen—in film, fan video, and television—raises a range of questions 
addressed by this special issue of /Literature/Film Quarterly/. How far 
can we push the notion of Lindelof’s version (or any adaptation for that 
matter) as a “remix?” What does his invocation of remix suggest about 
the broader transmedial ecology of Watchmen? How might Moore and 
Gibbons’ comics have reflexively anticipated, or even actively summoned, 
the idea of them being remixed? What are the experiential affordances of 
such a moving image remix for its audience? And, importantly, what are 
the political stakes of Lindelof’s Watchmen remix and its reception? 
With five incisive essays from Joshua Wille, Eduardo Navas, Aaron 
Taylor, Andrew Hoberek, and Sheila Nayar, this issue wants to drive home 
that there is a lot more to be said, in addition to Lindelof’s 
particular remix, for remixing as an evocative image for the kind of 
adaptive work that we find in his television series, and beyond.



/Literature/Film Quarterly/
ISSN 2573-7597
FALL 2021 VOL.49, NO. 4
Special Issue: "/Watchmen/, From Co-Mix to Remix"

Guest Editorial:
/Watchmen/, From Co-Mix to Remix 
<https://lfq.salisbury.edu/_issues/49_4/watchmen_from_comix_to_remix.html>
Martin P. Rossouw (University of the Free State)

Nothing Ever Ends: /Watchmen/, Fan Edits, and the Persistence of 
Revision 
<https://lfq.salisbury.edu/_issues/49_4/nothing_ever_ends_watchmen_fan_edits_and_the_persistence_of_revision.html>
Joshua Wille (Independent Scholar)

Damon Lindelof’s /Watchmen/ Remix: Creativity and Allegory 
<https://lfq.salisbury.edu/_issues/49_4/damon_lindelofs_watchmen_remix_creativity_and_allegory.html>
Eduardo Navas (Pennsylvania State University)

/Watchmen/ Remembered and Remixed: Memory and Performance in Complex 
Transmedia Television 
<https://lfq.salisbury.edu/_issues/49_4/watchmen_remembered_and_remixed_memory_and_performance_in_complex_transmedia_television.html>
Aaron Taylor (University of Lethbridge)

Of /Watchmen/ and Great Men: The Graphic Novel, the Television Series, 
and the Police 
<https://lfq.salisbury.edu/_issues/49_4/of_watchment_and_great_men_the_graphic_novel_the_television_series_and_the_police.html>
Andrew Hoberek (University of Missouri)

Who Watches /Watchmen/—and How? Shifting Epistemic Registers in the 
Comics and Television Series 
<https://lfq.salisbury.edu/_issues/49_4/of_watchmen_and_how_shifting_epistemic_registers_in_the_comics_and_television_series.html>
Sheila J. Nayar (University of Utah)


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