A Companion to Literature, Film, and Adaptation
Deborah Cartmell (ed.)- Incorporates new research in adaptation studies
- Features a chapter on the Harry Potter franchise, as well as other contemporary perspectives
- Showcases work by leading Shakespeare adaptation scholars
- Explores fascinating topics such as ‘unfilmable’ texts
- Includes detailed considerations of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
Content:
Chapter 1 Literary Adaptation in the Silent Era (pages 15–32): Judith Buchanan
Chapter 2 Writing on the Silent Screen (pages 33–51): Gregory Robinson
Chapter 3 Adaptation and Modernism (pages 52–69): Richard J. Hand
Chapter 4 Sound Adaptation (pages 70–83): Deborah Cartmell
Chapter 5 Adaptation and Intertextuality, or, What Isn't an Adaptation, and What does it Matter? (pages 85–104): Thomas Leitch
Chapter 6 Film Authorship and Adaptation (pages 105–121): Shelley Cobb
Chapter 7 The Business of Adaptation (pages 122–139): Simone Murray
Chapter 8 Adapting the X?Men (pages 141–158): Martin Zeller?Jacques
Chapter 9 The Classic Novel on British Television (pages 159–175): Richard Butt
Chapter 10 Screened Writers (pages 177–197): Kamilla Elliott
Chapter 11 Murdering Othello (pages 198–215): Douglas M. Lanier
Chapter 12 Hamlet's Hauntographology (pages 216–240): Richard Burt
Chapter 13 Shakespeare to Austen on Screen (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: Beyond Heritage (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian Adaptations (pages 272–291): Imelda Whelehan
Chapter 16 Costume and Adaptation (pages 293–311): Pamela Church Gibson and Tamar Jeffers McDonald
Chapter 17 Music into Movies (pages 312–329): Ian Inglis
Chapter 18 Rambo on Page and Screen (pages 330–341): Jeremy Strong
Chapter 19 Writing for the Movies (pages 343–358): Yvonne Griggs
Chapter 20 Foregrounding the Media (pages 359–373): Christine Geraghty
Chapter 21 Paratextual Adaptation (pages 374–390): Jamie Sherry
Chapter 22 Authorship, Commerce, and Harry Potter (pages 391–407): James Russell
Chapter 23 Adapting the Unadaptable – The Screenwriter's Perspective (pages 408–415): Diane Lake