A Companion to Literature, Film, and Adaptation by Deborah Cartmell

By Deborah Cartmell

This can be a accomplished selection of unique essays that discover the aesthetics, economics, and mechanics of motion picture edition, from the times of silent cinema to modern franchise phenomena. that includes quite a number theoretical ways, and chapters at the historic, ideological and fiscal elements of edition, the quantity displays today’s popularity of intertextuality as a necessary and innovative cultural strength.

  • Incorporates new study in variation reviews
  • Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
  • Showcases paintings through major Shakespeare variation students
  • Explores interesting issues resembling ‘unfilmable’ texts
  • Includes specified concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness

Chapter 1 Literary model within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent display (pages 33–51): Gregory Robinson
Chapter three variation and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound model (pages 70–83): Deborah Cartmell
Chapter five model and Intertextuality, or, What isn't really an variation, and What does it topic? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and version (pages 105–121): Shelley Cobb
Chapter 7 The enterprise of variation (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 display (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past history (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 track into video clips (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and monitor (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 version (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 point of view (pages 408–415): Diane Lake

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Additional resources for A Companion to Literature, Film, and Adaptation

Sample text

In 1908, an early viewer named W. M. Rhodes wrote in to Moving Picture World proposing that if films could provide text at every “20 or 30 feet (or at every place on film wherein an explanation was necessary), then the theater manager would have no use for a lecturer” (1908: 143). He was promptly lambasted in an editorial reply, which argued that this act would unnecessarily make films more expensive and that a “perfectly thought out plot, well put together, should tell its own story” (“Editorial Reply”, 1908: 143).

The joy to be had in any one performance, or in any one projected film short from such a program, was, therefore, dependent in no small measure on its contribution to the cumulative variety line-up. The adaptive life of early cinema was certainly not limited to an exclusive relationship with literary texts. In the fluid intermedial traffic of subjects and ideas that characterized the freewheeling cultural momentum of the period, material and styles from vaudeville skits, music-hall acts, magic lantern shows, topical, satirical and saucy cartoons, works of art, tableaux vivants, opera, illustrations, popular songs, and other forms of cultural expression (performed and printed) were variously appropriated, referenced, and re-couched by filmmakers.

The further [the motion picture] gets from Euripides, Ibsen, Shakespeare, or Molière – the more it becomes like a mural painting from which flashes of lightning come – the more it realizes its genius (Lindsay, 1970: 194). Nevertheless, in adapting theatrical material, films of the transitional era were sometimes caught by a counter-impulse to signal a sustained allegiance to the medium of derivation of their source material, the stage. This was particularly true of Shakespearean filmmaking. While it sometimes broke free into freshly conceived ways of seeing and narrating, equally its blocking, cinematography, and performance codes sometimes timidly courted the look and feel of theatrical productions in an attempt, perhaps, to legitimize its own presumptuous project in adapting Literary Adaptation in the Silent Era 25 Shakespeare for film at all.

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