By Deborah Cartmell
This can be a complete selection of unique essays that discover the aesthetics, economics, and mechanics of motion picture variation, from the times of silent cinema to modern franchise phenomena. that includes a number of theoretical methods, and chapters at the ancient, ideological and fiscal points of model, the quantity displays today’s reputation of intertextuality as a necessary and revolutionary cultural strength.
- Incorporates new study in variation stories
- Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
- Showcases paintings through best Shakespeare edition students
- Explores attention-grabbing subject matters reminiscent of ‘unfilmable’ texts
- Includes particular concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
Chapter 1 Literary version within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent monitor (pages 33–51): Gregory Robinson
Chapter three version and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound edition (pages 70–83): Deborah Cartmell
Chapter five model and Intertextuality, or, What is not an variation, and What does it topic? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and variation (pages 105–121): Shelley Cobb
Chapter 7 The company of version (pages 122–139): Simone Murray
Chapter eight Adapting the X?Men (pages 141–158): Martin Zeller?Jacques
Chapter nine The vintage Novel on British tv (pages 159–175): Richard Butt
Chapter 10 Screened Writers (pages 177–197): Kamilla Elliott
Chapter eleven Murdering Othello (pages 198–215): Douglas M. Lanier
Chapter 12 Hamlet's Hauntographology (pages 216–240): Richard Burt
Chapter thirteen Shakespeare to Austen on monitor (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past background (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian diversifications (pages 272–291): Imelda Whelehan
Chapter sixteen dress and variation (pages 293–311): Pamela Church Gibson and Tamar Jeffers McDonald
Chapter 17 tune into video clips (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and reveal (pages 330–341): Jeremy Strong
Chapter 19 Writing for the films (pages 343–358): Yvonne Griggs
Chapter 20 Foregrounding the Media (pages 359–373): Christine Geraghty
Chapter 21 Paratextual edition (pages 374–390): Jamie Sherry
Chapter 22 Authorship, trade, and Harry Potter (pages 391–407): James Russell
Chapter 23 Adapting the Unadaptable – The Screenwriter's standpoint (pages 408–415): Diane Lake
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Extra info for A Companion to Literature, Film, and Adaptation
Herbert, Stephen, Colin Harding and Simon Popple. Eds. Victorian Film Catalogues: A Facsimile Collection. London: The Projection Box, 1996. Howard, Tony. Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction. Cambridge: Cambridge University Press, 2009. Keil, Charles. ” In Une Invention du Diable? Cinéma des Premiers Temps et Religion. Eds. Roland Cosandey, André Gaudreault, and Tom Gunning. Sainte-Foy: Les Presses de l’Université Laval, 1992, 112–20. “The Lasky ‘Oliver Twist’: J.
22 Judith Buchanan Vitagraph were, in fact, famously proﬁcient at producing, marketing, and globally distributing popular, visually attractive but partial versions of literary classics (Uricchio and Pearson, 1993). In the ﬁve-year period between 1907 and 1912 alone, for example, they produced two ﬁlms adapted from Dickens, three from Victor Hugo, two from Greek mythology, ﬁve from the Bible, twelve from Shakespeare, three from classic fairytales, and one each from William Thackeray, Oscar Wilde, Ellen Wood, Arthur Conan Doyle and Arthurian legend.
Choosing key moments from the inherited story – whenever possible those that already had some heightened recognition-value in the public consciousness – gave the advantage of speedy intelligibility for a picture-going audience independently able to contextualize the unplaced moment playing out before them. This textallusive/audience-collusive approach produced a slew of short ﬁlms that “quoted” selectively from literary sources in cinema’s ﬁrst decade. Even post-1907, when the desire to tell a coherent story had become the usual aspiration for a ﬁlm, ﬁlm stories were still typically structured as a medley of strung-together “moments” rather than as a ﬂuently progressive narrative.
A Companion to Literature, Film, and Adaptation by Deborah Cartmell