By Deborah Cartmell
It is a finished number 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 various theoretical ways, and chapters at the old, ideological and fiscal elements of edition, the quantity displays today’s popularity of intertextuality as an essential and revolutionary cultural strength.
- Incorporates new learn in version stories
- Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
- Showcases paintings by way of best Shakespeare edition students
- Explores interesting themes comparable to ‘unfilmable’ texts
- Includes precise 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 display (pages 33–51): Gregory Robinson
Chapter three model and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound model (pages 70–83): Deborah Cartmell
Chapter five edition and Intertextuality, or, What isn't really an model, and What does it subject? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and model (pages 105–121): Shelley Cobb
Chapter 7 The company 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 background (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian diversifications (pages 272–291): Imelda Whelehan
Chapter sixteen gown and version (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 display (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 standpoint (pages 408–415): Diane Lake
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Extra resources for A Companion to Literature, Film, and Adaptation
Grifﬁth’s Judith of Bethulia (1914) starring Blanche Sweet is commercially available (Bach Films) (see Buchanan, forthcoming); Murnau’s Nosferatu (1922) is multiply commercially available (including on Elstree Hill). References Altman, Rick. Silent Film Sound. New York: Columbia University Press, 2004. Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984. The Bioscope, 22:379, January 15, 1914, 217. Brown, Richard and Barry Anthony. A Victorian Film Enterprise: The History of the British Biograph and Mutoscope Company, 1897–1915.
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.
Rather the project was, in effect, to produce cinematically animated, brief, visual quotations from a work. 2 Gunning has termed the privileging of isolated cameo references over a consistent narrative drive in such ﬁlms a “peak moment” approach to a source (2004: 128). 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.