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Fury Road , Jumanji: Welcome to the Jungle and Toy Story 4 are examples of stand-alone movie sequels.

In The Afterlife of a Character , David Brewer describes a reader's desire to "see more", or to know what happens next in a narrative after it has ended.

Indeed, we can point to Homer's Odyssey as a sequel to the Iliad in the sense that it expands upon plot and character elements established in the first text.

That both the Odyssey and the Iliad were written in the 8th century B. The Judeo-Christian Bible is also a common referent in that sense; many of the works included in the Hebrew Scriptures can be classified as sequels in that they continue and expand on a very general narrative that is pre-established by previous books in the same collection.

In addition, the development of an official canon allows for the distinction between official and unofficial sequels; in this context, apocrypha might be considered an early form of informal sequel literature.

Sequels, then, become an important facet of Western literature throughout history. The medieval genre of Romance , in particular, contains massive networks of prequel and sequel literature.

The origin of the sequel as we think of it in the 21st century developed from the novella and romance traditions in a slow process that culminated towards the end of the 17th century.

The substantial shift towards a rapidly growing print culture and the rise of the market system by the early 18th-century meant that an author's merit and livelihood became increasingly linked to the number of copies of a work he or she could sell.

This shift from a text-based to an author-centered reading culture [10] led to the "professionalization" of the author — that is, the development of a "sense of identity based on a marketable skill and on supplying to a defined public a specialized service it was demanding".

In addition to serving economic profit, the sequel was also used as a method to strengthen an author's claim to his literary property. With weak copyright laws and unscrupulous booksellers willing to sell whatever they could, in some cases the only way to prove ownership of a text was to produce another like it.

Sequels in this sense are rather limited in scope, as the authors are focused on producing "more of the same" to defend their "literary paternity".

This became especially important in the economy of the 18th century novel, in which authors often maintained readership by drawing readers back with the promise of more of what they liked from the original.

With sequels, therefore, came the implicit division of readers by authors into the categories of "desirable" and "undesirable"—that is, those that interpret the text in a way unsanctioned by the author.

Only after having achieved a significant reader base would an author feel free to alienate or ignore the "undesirable" readers. This concept of "undesirable" readers extends to unofficial sequels with the 18th century novel.

While in certain historical contexts unofficial sequels were actually the norm for an example, see Arthurian literature , with the emphasis on the author function that arises in conjunction with the novel many authors began to see these kinds of unauthorized extensions as being in direct conflict with authorial authority.

In response, Cervantes very firmly kills the protagonist at the end of the Second Part to discourage any more such creative liberties.

Richardson was extremely vocal in his disapproval of the way the protagonist of his novel Pamela was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots.

The most famous of these is Henry Fielding 's parody, entitled Shamela. Print, Gender, and Some Eighteenth Century Sequels , Betty Schellenberg theorizes that whereas for male writers in the 18th century sequels often served as "models of paternity and property", for women writers these models were more likely to be seen as transgressive.

Instead, the recurring readership created by sequels let female writers function within the model of "familiar acquaintances reunited to enjoy the mutual pleasures of conversation", and made their writing an "activity within a private, non-economic sphere.

Dissociated from the motives of profit and therefore unrestrained by the need for continuity felt by male writers, Schellenberg argues that female-authored sequel fiction tended to have a much broader scope.

As software-development costs have increased, [17] [18] sequels have become increasingly important for the video-game industry , as they provide a way to resell a product, reusing code and graphics.

In some cases, the characters or setting of an original film or video game become so valuable that they develop into a media franchise.

Generally, a whole series of sequels is made, along with merchandising. Multiple sequels are often planned well in advance and actors and directors may sign extended contracts to ensure their participation.

This can extend into a franchise's initial production's plot to provide story material to develop for sequels called sequel hooks.

Movie sequels do not always do as well at the box office as the original, but they tend to do better than non-sequels, according to a study in the July issue of the Journal of Business Research.

The shorter the period between releases, the better the sequel does at the box office. Sequels also show a faster drop in weekly revenues relative to non-sequels.

Sequels are most often produced in the same medium as the previous work e. Producing sequels to a work in another medium has recently become common, especially when the new medium is less costly or time-consuming to produce.

A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series cancellation.

Some highly popular movies and television series have inspired the production of multiple novel sequels, sometimes rivaling or even dwarfing the volume of works in the original medium.

For example, the novel The Hundred and One Dalmatians , its animated adaptation and that film's live-action remake each have a sequel unrelated to the other sequels: Patch's London Adventure , direct to video and Dalmatians Sometimes sequels are produced without the consent of the creator of the original work.

These may be dubbed unofficial, informal, unauthorized, or illegitimate sequels. In some cases, the work is in the public domain , and there is no legal obstacle to producing sequels.

An example would be a book or movie that served as a sequel to the original book The Wonderful Wizard of Oz , which is in the public domain as opposed to the movie.

In other cases, the original creator or their heirs may assert copyrights and challenge the creators of the sequels. Another example of an unofficial sequel would be Never Say Never Again , a James Bond movie starring Sean Connery that was not produced by Eon Productions , which has handled nearly all of the other Bond films.

From Wikipedia, the free encyclopedia. For other uses, see Sequel disambiguation. This section needs expansion. You can help by adding to it.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.

Or something like that. Test your knowledge - and maybe learn something along the way. Examples of sequel in a Sentence The new film is a sequel to the very successful comedy that came out five years ago.

He is busy writing the book's sequel. There is an interesting sequel to my date with her that I'll share with you later.

Recent Examples on the Web The release became a favorite of hip-hop connoisseurs for its abstract production and politically progressive lyrics; all these years later, recent hints at a sequel have garnered headlines.

Confidential explore the shady deals that built the sprawling megalopolis. This nonsense has gone full Sharknado," 22 June These example sentences are selected automatically from various online news sources to reflect current usage of the word 'sequel.

First Known Use of sequel 15th century, in the meaning defined at sense 1. History and Etymology for sequel Middle English, from Anglo-French sequele , from Latin sequela , from sequi to follow — more at sue.

Learn More about sequel. Resources for sequel Time Traveler! Explore the year a word first appeared. Dictionary Entries near sequel sequacious sequaciousness Sequani sequel sequela sequence sequencer.

Time Traveler for sequel The first known use of sequel was in the 15th century See more words from the same century. More Definitions for sequel.

English Language Learners Definition of sequel. Kids Definition of sequel. More from Merriam-Webster on sequel See words that rhyme with sequel Thesaurus: All synonyms and antonyms for sequel Spanish Central: Translation of sequel Nglish: Translation of sequel for Spanish Speakers Britannica English: Comments on sequel What made you want to look up sequel?

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