Description : Most books on film adaptation—the relation between films and their literary sources—focus on a series of close one-to-one comparisons between specific films and canonical novels. This volume identifies and investigates a far wider array of problems posed by the process of adaptation. Beginning with an examination of why adaptation study has so often supported the institution of literature rather than fostering the practice of literacy, Thomas Leitch considers how the creators of short silent films attempted to give them the weight of literature, what sorts of fidelity are possible in an adaptation of sacred scripture, what it means for an adaptation to pose as an introduction to, rather than a transcription of, a literary classic, and why and how some films have sought impossibly close fidelity to their sources. After examining the surprisingly divergent fidelity claims made by three different kinds of canonical adaptations, Leitch's analysis moves beyond literary sources to consider why a small number of adapters have risen to the status of auteurs and how illustrated books, comic strips, video games, and true stories have been adapted to the screen. The range of films studied, from silent Shakespeare to Sherlock Holmes to The Lord of the Rings, is as broad as the problems that come under review. -- Shannon Wells-Lassagne
Description : A Companion to Literature in Film provides state-of-the-art research on world literature, film, and the complex theoretical relationship between them. 25 essays by international experts cover the most important topics in the study of literature and film adaptations. Covers a wide variety of topics, including cultural, thematic, theoretical, and genre issues Discusses film adaptations from the birth of cinema to the present day Explores a diverse range of titles and genres, including film noir, biblical epics, and Italian and Chinese cinema
Description : and the first to consider in detail films like Creepshow, Sleepwalkers and 1408. The style, whilst critically rigorous, is designed to be accessible to discerning readers of King and fans of films based on his work." --Book Jacket.
Description : Jane Austen’s career as a novelist began in 1811 with the publication of Sense and Sensibility. Her work was finally adapted for the big screen with the 1940 filming of Pride and Prejudice (very successful at the box office). No other film adaptation of an Austen novel was made for theatrical release until 1995. Amazingly, during 1995 and 1996, six film and television adaptations appeared, first Clueless, then Persuasion, followed by Pride and Prejudice, Sense and Sensibility, the Miramax Emma, and the Meridian/A&E Emma. This book traces the history of film and television adaptations (nearly 30 to date) of Jane Austen manuscripts, compares the adaptations to the manuscripts, compares the way different adaptations treat the novels, and analyzes the adaptations as examples of cinematic art. The first of seven chapters explains why the novels of Jane Austen have become a popular source of film and television adaptations. The following six chapters each cover one of Austen’s novels: Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey. Each chapter begins with a summary of the main events of the novel. Then a history of the adaptations is presented followed by an analysis of the unique qualities of each adaptation, a comparison of these adaptations to each other and to the novels on which they are based, and a reflection of relevant film and literary criticism as it applies to the adaptations.
Description : This collection of essays focuses on numerous contexts to emphasize why film adaptations matter to students of literature. Written by specialists in a variety of fields, ranging from film, radio, theater, and even language studies, it is the first such volume devoted exclusively to teaching adaptations from a practical, teacher-centered angle.
Description : In this exceptional contribution to literary adaptation studies, Guerric DeBona shifts the focus away from determining a film's allegiance to the original source and redirects the conversation to the industrial choices, audience responses, and socio-cultural factors that contribute to the construction of the cinematic text. Film Adaptation in the Hollywood Studio Era analyzes the intertextuality, cultural value, and authorship of four films from the 1920s to the 1950s based on canonical British and American novels. This unique methodological alternative to formalist "fidelity" approaches to literary adaptations blends archival research with DeBona's own deft and culturally rich interpretations of David Copperfield (1935), Heart of Darkness (1939), The Long Voyage Home (1940), and The Red Badge of Courage (1951). Emphasizing the historical and cultural contexts as well as political and economic filmmaking decisions, DeBona reveals how high-minded source material from literary luminaries Charles Dickens, Joseph Conrad, Eugene O'Neill, and Stephen Crane did not necessarily translate to prestigious or credible films during the studio era. He also considers how such films led to a new set of industry standards and audience expectations in film after World War II. Through this hermeneutic and historical approach, DeBona argues that the films are examples of what French film critic André Bazin termed "mixed cinema," and not solely the transformation of one work of art to another medium. Building on the work of mid-twentieth-century French auteurs from Cahiers du Cinéma and incorporating contemporary film criticism, DeBona presents a fully realized methodological alternative to the formalist approach of "fidelity critics" and conclusively demonstrates the importance of historical context to adaptation studies.
Description : A dynamic investigation of processes of cultural reproduction – remaking and remodelling – which considers a wide range of film adaptations, remakes and fan productions from various industrial, textual and critical perspectives.
Description : The volume takes as its starting point the assumption that adapters cannot simply "transpose" or transfer one particular text from one medium to another. They must interpret, re-work, and re-imagine the precursor text in order to choose the various meanings and sensations they find most compelling (or most cost-effective); then, they create scenes, characters, plot elements, etc., that match their interpretation. These very relationships are the subject matter this collection seeks to explore. Poststructural theory is an ideal place to begin a rigorous and theoretically sound investigation of adaptation. As adaptation studies adopts a poststructuralist lens and defines this richer notion of intertextuality, some of its key assumptions will change. Adaptation scholars will recognize that all film adaptations are intertextual by definition, multivocal by necessity, and adaptive by their nature --
Description : Caitlin Deverell flees to London to escape her titled grandmother's insistent matchmaking and, at an old friend's house, meets and is attracted to Lord Reighfort with whom she joins in a search for a valuable antique