This thesis explores the specific cross section of two fields of study: fan culture, and ‘event film’ adaptation (Margolis, 2009). Here, I put forwardevidence of theshifting relationship between filmmakers and fans of a popular adapted work, and present new modes ofengagement for the fans to the adaptation process facilitated bythe Internet. This is an investigationof the pertinent research in the fields of adaptation studies (Naremore, 2000; Stam, 2005; Hutcheon 2006), and fan studies (Jenkins, 1992; Bacon-Smith, 1992; Jancovich, 2003; Booth, 2010)in the digital age. I also presentmy ownpractical,ethnographic research from film sets, working with a production company and a film funding body, The Film Agency of Wales, interviews, and fan events for analysis of practical applicationto provide evidence of the dialectical shift in the fan and filmmaker relationshipdue in large part to the Internet.1Fans now have unprecedented access to the filmmaking process due to digital media applications such as Facebook, Twitter, Pinterest, Tumblr, and the various fan sites and discussion boards that provide immediate information dispersal. Theinformation-sharing abilities andmarketing power of fans as well astheir immediacy in organizing events and movements can be harnessed and utilized in the adaptation process of the event film. This is affecting filmmaking processes, as many are beginning to incorporate new practicesfor fan managementinto their procedures.This study uses existing research, as well as new, ethnographic investigation from the set of Twilight(2008), multiple fan-focused Twilightevents, and from industry creators in games, merchandise, literature, and filmfrom additional event film adaptations. Through these events and resources, this thesis examines relevant research on participatory communities, fan culture, and fan management, to argue thenew and developing modes of fan interaction and fan influence on event film adaptation. This thesis concludes that the dialecticalrelationship between the fan and the filmmaker has shifted, as evidencedin the production of the event film, Twilight, due to the immediacy of information dispersal on the Internet, and the participatory fan culture. Fans can be highly organized, and may have extensive influence on an event film adaptation. Therefore, filmmakers are adapting their practices to consider and incorporate the fans in the process, to present actual or implied efforts for fidelity, and to illustrate their efforts on digital platforms to supportand inform the fan base of an event film.