The aim of adaptation?

Here I'm going to describe a few questions from seminars, notes from my sketchbook taken to try and describe my aim for this year.

With the aim in mind, why choose to break the established rules of storytelling (such as the 3 act structure described in the book, Screenplay) when the creator does not know what to replace them with? Is it a case of familiarity breeding contempt and driving the creation through a need to see something new, a case doing something new just for the sake of doing something new, or does the spectator deserve mention in the telling, in the way that art can allow the viewer to see something the artist never intended to be shown through their own perspective? Or will the viewer ignore what does not fulfil required expectations?

I will have to research further experiments into creating new storytelling methods, ones that challenge the spectator with new and different methods – Koyaanisqatsi is an example of moving outside while still telling a story, but ultimately it is a simple story told, of life out of balance. The film's subtitle describes as much as the film in it's entirety. This raises the further question of the importance of factual information delivery versus emotional weight and engagement.

A 2 minute excerpt from the film Koyaanisqatsi: Life out of balance

 So where does this effect the work of transmedia adaptation? I believe it does through the feeling created in an original work and the moods associated with it by the spectator - I will say that there is no way of capturing the mood and beliefs of every viewer, so ultimately it is a choice on the part of the adapter to capture what they feel is the most important aspect of the original - but recreating the emotional weight in another form is one of the main avenues of research into the work of adaptation between media types, despite any similarities between them.

Society has always told stories, both as a cultural importance and to present factual information in early human development, these stories can reflect the current mood of society (or certain members of it) and can return to popularity when the cultural mood, or zeitgeist, reverts back to the mood of the creation - does the popularity of more depressing works, such a s the big budget adaptation of Les Miserables tie in to the current mood of austerity and recession worldwide?