Adaptations: from text to screen, from screen to text by 
Screening the Novel by 
Novel to Film by 
The Art of Adaptation by
Adaptations have long been a mainstay of Hollywood and the television networks. Indeed, most Academy Award- and Emmy Award-winning films have been adaptations of novels, plays, or true-life stories. Linda Seger, author of two acclaimed books on scriptwriting, now offers a comprehensive handbook for screenwriters, producers, and directors who want to successfully transform fictional or factual material into film. Seger tells how to analyze source material to understand why some of it resists adaptation. She then gives practical methods for translating story, characters, themes, and style into film. A final section details essential information on how to adapt material and how to protect oneself legally
One Flew over the Cuckoo's Nest by
A visually arresting deluxe edition of Ken Kesey's counterculture classic Boisterous, ribald, and ultimately shattering, Ken Kesey's 1962 novel has left an indelible mark on the literature of our time. Now in a new deluxe edition with a foreword by Chuck Palahniuk and cover by Joe Sacco, here is the unforgettable story of a mental ward and its inhabitants, especially the tyrannical Big Nurse Ratched and Randle Patrick McMurphy, the brawling, fun-loving new inmate who resolves to oppose her. We see the struggle through the eyes of Chief Bromden, the seemingly mute half-Indian patient who witnesses and understands McMurphy's heroic attempt to do battle with the powers that keep them all imprisoned.
The Tragedy of MacBeth by
This is the most extensively annotated edition of Macbeth currently available, offering a thorough reconsideration of one of Shakespeare's most popular plays. A full and accessible introduction studies the immediate theatrical and political contexts of Macbeth's composition, especially the Gunpowder Plot and the contemporary account of an early performance at the Globe. It treats such celebrated issues as whether the Witches compel Macbeth to murder; whether Lady Macbeth is herself a witch; whether Banquo is Macbeth's accomplice in crime and what criticism is levelled against Macduff. An extensive, well-illustrated account of the play in performance examines several cinematic versions, such as those by Kurosawa and Roman Polanski, and other dramatic adaptations. Several possible new sources are suggested, and the presence of Thomas Middleton's writing in the play is proposed. Appendixes contain additional text and accompanying music.
No, but I Saw the Movie by 
Adaptations: a guide to adapting literature in film by 
How to Adapt Anything into a Screenplay by
From concept to finished draft-a nuts-and-bolts approach to adaptations Aspiring and established screenwriters everywhere, take note! This down-to-earth guide is the first to clearly articulate the craft of adaptation. Drawing on his own experience and on fourteen years of teaching, screenwriter Richard Krevolin presents his proven five-step process for adapting anything-from novels and short stories to newspaper articles and poems-into a screenplay. Used by thousands of novelists, playwrights, poets, and journalists around the country, this can′t-miss process features practical advice on how to break down a story into its essential components, as well as utilizes case studies of successful adaptations. Krevolin also provides an insider′s view of working and surviving within the Hollywood system-covering the legal issues, interviewing studio insiders on what they are looking for, and offering tips from established screenwriters who specialize in adaptations. ∗ Outlines a series of stages that help you structure your story to fit the needs of a 120-page screenplay ∗ Explains how to adapt anything for Hollywood, from a single sentence story idea all the way to a thousand-page novel ∗ Advises on the tricky subject of just how faithful your adaptation should be ∗ Features helpful hints from Hollywood bigwigs-award-winning television writer Larry Brody; screenwriter and script reader Henry Jones; screenwriter and author Robin Russin; screenwriter and author Simon Rose; and more
Screen Adaptation by
Screen Adaptation : A Scriptwriting Handbook, 2nd ed. examines the challenge screenwriters face when adapting novels, plays, and short stories for the screen. Thoroughly updated to include new exercises and example from current films, this book provides practical, usable information on how to find the best plot line for a script, choose key characters, and understand the goals and formats of different genres. Topics include: determining which characters and events are most valuable on developing the main story; expanding short novellas and condensing long novels; using dialog to advance the story and reveal character; comparing the formats of plays, short stories, and novels to those of screenplays approaching the marketplace In this book, both beginning writers and professionals will find the tools necessary to evaluate a prospective source and create a successful screenplay
The Art of Adaptation by
Adaptations have long been a mainstay of Hollywood and the television networks. Indeed, most Academy Award- and Emmy Award-winning films have been adaptations of novels, plays, or true-life stories. Linda Seger, author of two acclaimed books on scriptwriting, now offers a comprehensive handbook for screenwriters, producers, and directors who want to successfully transform fictional or factual material into film. Seger tells how to analyze source material to understand why some of it resists adaptation. She then gives practical methods for translating story, characters, themes, and style into film. A final section details essential information on how to adapt material and how to protect oneself legally
Screen Adaptation: Beyond the Basics by
Once you understand the basics of screenwriting, ideas for your next screenplay are everywhere. Whether it comes from a favorite children's book, a summer novel you discover accidentally, a news story that catches your imagination, or a chapter from your own life -- advanced screenwriting strategies should now guide you through your first adaptation. In Screen Adaptation: Beyond the Basics, award-winning screenwriter Eric Williams uses examples from award-winning screenplays to explain new storytelling techniques. His real-world examples illustrate a range of advanced approaches -- including new ways to identify and craft tension, how to reimagine structure and character, and how to strengthen emotional depth in your characters and in the audience. Screen Adaptation: Beyond the Basics teaches readers new ways to engage with source material in order to make successful adaptation decisions, regardless of the source material. The book offers: Three detailed examples of award-winning adaptations by the author, including the complete short story and final scripts used in the Voices From the Heartland project; Breakout boxes highlighting modern and historical adaptations and providing examples for each concept discussed in the book; More than fifty charts providing easy-to-use visual representations of complex concepts; New screenwriting techniques developed by the author, including the Triangle of Knowledge, the Storyteller's Parallax, and the idea of Super Genres as part of a Screenwriters Taxonomy.
Authorship in Film Adaptation by 
Film Art: an Introduction by
Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell, Kristin Thompson and now, Co-Author, Jeff Smith's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the twelfth edition of Film Art delivers SmartBook, first and only adaptive reading experience currently available, designed to help students stay focused, maximize study time and retain basic concepts.
Screening Novel Women: from British domestic fiction to film by 
A Companion to Literature, Film and Adaptation by 
The Cambridge Companion to Literature on Screen by
This Companion offers a multi-disciplinary approach to literature on film and television. Writers are drawn from different backgrounds to consider broad topics, such as the issue of adaptation from novels and plays to the screen, canonical and popular literature, fantasy, genre and adaptations for children. There are also case studies, such as Shakespeare, Jane Austen, the nineteenth-century novel and modernism, which allow the reader to place adaptations of the work of writers within a wider context. An interview with Andrew Davies, whose work includes Pride and Prejudice (1995) and Bleak House (2005), reveals the practical choices and challenges that face the professional writer and adaptor. The Companion as a whole provides an extensive survey of an increasingly popular field of study.
Adaptation: Studying Film and Literature by 
Rethinking the Novel/Film Debate by 
Cinema Studies: the Key Concepts by
Cinema Studies: The Key Concepts is essential reading for anyone interested in film. Providing accessible coverage of a comprehensive range of genres, movements, theories and production terms, this is a must-have guide to a fascinating area of study and arguably the greatest art form of modern times. Now fully revised and updated for its fifth edition, the book includes entries on topics such as: Acting Audience CGI Convergence Cult cinema Digitisation and globalization Distribution Experimental film Transnational cinema World cinemas
A Theory of Adaptation by
A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. This new edition is supplemented by a new preface from the author, discussing both new adaptive forms/platforms and recent critical developments in the study of adaptation.　 It also features an illuminating new epilogue from Siobhan O'Flynn, focusing on adaptation in the context of digital media. She considers the impact of transmedia practices and properties on the form and practice of adaptation, as well as studying the extension of game narrative across media platforms, fan-based adaptation (from Twitter and Facebook to home movies), and the adaptation of books to digital formats. A Theory of Adaptation is the ideal guide to this ever evolving field of study and is essential reading for anyone interested in adaptation in the context of literary and media studies.
In/Fidelity by
This volume explores a timely and controversial theoretical issue in cinematic adaptation studies: the necessity and value of fidelity as a yardstick by which to measure film adaptations of literary and dramatic works. Recent publications in the field have argued that adaptation criticism has been too focused on fidelity and unjustly privileges the literary source over the film adaptation. Film theorists who object to this perceived bias recommend that criticism of film adaptations develop a more intertextual paradigm, following the tenets of post-structuralist literary theory. Yet this approach risks throwing the field into chaotic relativism. The essays in this volume suggest, rather, that there is now a continuum of critical perspectives that use fidelity, or the comparative methodology which is its essence, both more and less as a benchmark for critiquing and evaluating film adaptations. Similarly, cinematic adaptations themselves have for some time operated on a spectrum of more or less fidelity to their primary literary or dramatic sources. A plurality (rather than an infinity) of critical approaches allows the field of adaptation studies to express a breadth of perspectives and interests while still maintaining the relational heart of the enterprise. All the chapters in this book were initially plenary lectures, individual papers, or panel presentations (with discussion) heard at the Literature/Film Assoiation annual conference held at Dickinson College, Carlisle, Pennsylvania, in 2005. The in/fidelity continuum is organized as follows. Early essays express the desire for fidelity in film adaptation and/or demonstrate the ways in which several films, despite some textual and contextual interference, manage to remain relatively faithful to literary sources in one way or another. The next essays show how textual and contextual influences draw film adaptations into infidelities of various kinds. Later chapters offer examples of cinematic adaptations which have tenuous connections to their alleged sources or critique central elements of those sources. After a post-structuralist analysis of adaptation theory, the panel and following discussion provide some arguments both for and against fidelity criticism, including reasons for its persistence and ways to break its continuing, though changing, spell.
Film Adaptation and Its Discontents by
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.
Introduction to Film Studies by
Introduction to Film Studies is a comprehensive textbook for students of cinema. This completely revised and updated fifth edition guides students through the key issues and concepts in film studies, traces the historical development of film and introduces some of the worlds key national cinemas. A range of theories and theorists are presented from Formalism to Feminism, from Eisenstein to Deleuze. Each chapter is written by a subject specialist, including two new authors for the fifth edition. A wide range of films are analysed and discussed. It is lavishly illustrated with 150 film stills and production shots, in full colour throughout. Reviewed widely by teachers in the field and with a foreword by Bill Nichols, it will be essential reading for any introductory student of film and media studies or the visual arts worldwide. Key features of the fifth edition are: updated coverage of a wide range of concepts, theories and issues in film studies in-depth discussion of the contemporary film industry and technological changes new chapters on Film and Technology and Latin American Cinema new case studies on films such as District 9, Grizzly Man, Amores Perros, Avatar, Made in Dagenham and many others marginal key terms, notes, cross-referencing suggestions for further reading, further viewing and a comprehensive glossary and bibliography a new, improved companion website including popular case studies and chapters from previous editions (including chapters on German Cinema and The French New Wave), links to supporting sites, clips, questions and useful resources. Individual chapters include: The Industrial Contexts of Film Production · Film and Technology · Getting to the Bigger · Picture Film Form and Narrative · Spectator, Audience and Response · Cinematic authorship and the film auteur · Stardom and Hollywood Cinema · Genre, Theory and Hollywood Cinema The Documentary Form · The Language of Animation · Gender and Film · Lesbian and Gay Cinema · Spectacle, Stereotypes and Films of the African Diaspora · British Cinema · Indian Cinema · Latin American Cinema · Soviet Montage Cinema of the 1920s Contributors: Linda Craig, Lalitha Gopalan, Terri Francis, Chris Jones, Mark Joyce, Searle Kochberg, Lawrence Napper, Jill Nelmes, Patrick Phillips, Suzanne Speidel, Paul Ward, Paul Watson, Paul Wells and William Wittington
Adaptation and Appropriation by
From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores: multiple definitions and practices of adaptation and appropriation the cultural and aesthetic politics behind the impulse to adapt the global and local dimensions of adaptation the impact of new digital technologies on ideas of making, originality and customization diverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of art the impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies the appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.
Filming Literature by
This is a comprehensive survey of the relationship between film and literature. It looks at the cinematic adaptations of such literary masters as Shakespeare, Henry James, Joseph Conrad and D.H. Lawrence, and considers the contribution to the cinema made by important literary figures as Harold Pinter, James Agree and Graham Greene. Elsewhere, the book draws intriguing analogies between certain literary and film artists, such as Dickens and Chaplin, Ford and Twain, and suggests that such analogies can throw fresh light on the subjects under review. Another chapter considers the film genre of the bio-pic, the numerous cinematic attempts to render in concrete terms the complexities of the literary life, whether the writer be Proust, Joyce, Oscar Wilde, Dashiel Hammett, Agatha Christie or Boris Pasternak. Originally published in 1986, this is a book to appeal to any reader with an interest in film or literature, and is of especial value to those involved in the teaching or study of either subject.
Literature Through Film by
This lively and accessible textbook, written by an expert in film studies, provides a fascinating introduction to the process and art of literature-to-film adaptations. Provides a lively, rigorous, and clearly written account of key moments in the history of the novel from Don Quixote and Robinson Crusoe up to Lolita and One Hundred Years of Solitude Includes diversity of topics and titles, such as Fielding, Nabokov, and Cervantes in adaptations by Welles, Kubrick, and the French New Wave Emphasizes both the literary texts themselves and their varied transtextual film adaptations Examines numerous literary trends - from the self-conscious novel to magic realism - before exploring the cinematic impact of the movement Reinvigorates the field of adaptation studies by examining it through the grid of contemporary theory Brings novels and film adaptations into the age of multiculturalism, postcoloniality, and the Internet by reflecting on their contemporary relevance.
Literature and Film by
Literature and Film is a cornucopia of vibrant essays that chart the history and confluence of literature and film. It explores in detail a wide and international spectrum of novels and adaptations, bringing together the very latest scholarship in the field.
A Companion to Literature and Film by
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
Ronald Harwood's adaptations : from other works into films by Literature and Film by
Literature and Film is a cornucopia of vibrant essays that chart the history and confluence of literature and film. It explores in detail a wide and international spectrum of novels and adaptations, bringing together the very latest scholarship in the field.
Adaptation by
One of the most talked about scripts of the year, Adaptation is the story of an orchid collector (Chris Cooper), a journalist (Meryl Streep, as author Susan Orlean), and the screenwriter (Charlie Kaufman, played by Nicolas Cage) who, in adapting Orlean's bestselling book The Orchid Thief, writes himself and his twin brother (also played by Cage) into the movie. In the foreword, written exclusively for this Newmarket edition, Orlean reveals her own struggle to tell the story of the orchid, and her delight that "strangely, marvelously, hilariously, Kaufman's screenplay has ended up not being a literal Adaptation of my book, but a spiritual one." In a fascinating interview, Kaufman and Jonze take readers behind the scenes of Adaptation and their other films to speak about how they collaborate, where truth and fiction diverge, the challenges of balancing various storylines, why they do not like to comment on the meaning of their work, and Kaufman's approach to writing:"I try to write in the midst of confusion and be strong enough to stay there, rather than swim to the shore of some kind of conclusion." Finally, screenwriting guru Robert McKee's commentary attempts to analyze Kaufman's work, identifying many of his themes including "that grand twentieth-century preoccupation with the Self." In the acclaimed Newmarket Shooting Script#65533; series format, the book includes the complete screenplay, Orlean's foreword, the interview with Kaufman and Jonze, McKee's critical commentary, 24 black-and-white stills, and cast and crew credits.
The Orchid Thief by
NEW YORK TIMES BESTSELLER * A NEW YORK TIMES NOTABLE BOOK nbsp; A modern classic of personal journalism, The Orchid Thief is Susan Orlean's wickedly funny, elegant, and captivating tale of an amazing obsession. Determined to clone an endangered flower--the rare ghost orchid Polyrrhiza lindenii--a deeply eccentric and oddly attractive man named John Laroche leads Orlean on an unforgettable tour of America's strange flower-selling subculture, through Florida's swamps and beyond, along with the Seminoles who help him and the forces of justice who fight him. In the end, Orlean--and the reader--will have more respect for underdog determination and a powerful new definition of passion. nbsp; In this new edition, coming fifteen years after its initial publication and twenty years after she first met the "orchid thief," Orlean revisits this unforgettable world, and the route by which it was brought to the screen in the film Adaptation, in a new retrospective essay. Look for special features inside. Join the Random House Reader's Circle for author chats and more. nbsp; Praise for The Orchid Thief nbsp; "Stylishly written, whimsical yet sophisticated, quirkily detailed and full of empathy . . . The Orchid Thief shows [Orlean's] gifts in full bloom."--The New York Times Book Review nbsp; "Fascinating . . . an engrossing journey [full] of theft, hatred, greed, jealousy, madness, and backstabbing."--Los Angeles Times nbsp; "Orlean's snapshot-vivid, pitch-perfect prose . . . is fast becoming one of our national treasures."--The Washington Post Book World nbsp; "Orlean's gifts [are] her ear for the self-skewing dialogue, her eye for the incongruous, convincing detail, and her Didion-like deftness in description."--Boston Sunday Globe nbsp; "A swashbuckling piece of reporting that celebrates some virtues that made America great."--The Wall Street Journal
A Theory of Adaptation by
A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. This new edition is supplemented by a new preface from the author, discussing both new adaptive forms/platforms and recent critical developments in the study of adaptation.　 It also features an illuminating new epilogue from Siobhan O'Flynn, focusing on adaptation in the context of digital media. She considers the impact of transmedia practices and properties on the form and practice of adaptation, as well as studying the extension of game narrative across media platforms, fan-based adaptation (from Twitter and Facebook to home movies), and the adaptation of books to digital formats. A Theory of Adaptation is the ideal guide to this ever evolving field of study and is essential reading for anyone interested in adaptation in the context of literary and media studies.
Adaptation: Studying Film and Literature by 
The Comic Book Film Adaptation by
"There is no better, smarter examination of the relationship between comics and film." --Mark Waid, Eisner Award-winning writer of Kingdom Come and Daredevil In the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. This trend, now in its second decade, has blossomed into Hollywood's leading genre. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the center of mainstream film production. Through in-depth analysis, industry interviews, and audience research, this book charts the cause-and-effect of this influential trend. It considers the cultural traumas, business demands, and digital possibilities that Hollywood faced at the dawn of the twenty-first century. The industry managed to meet these challenges by exploiting comics and their existing audiences. However, studios were caught off-guard when these comic book fans, empowered by digital media, began to influence the success of these adaptations. Nonetheless, filmmakers soon developed strategies to take advantage of this intense fanbase, while codifying the trend into a more lucrative genre, the comic book movie, which appealed to an even wider audience. Central to this vibrant trend is a comic aesthetic in which filmmakers utilize digital filmmaking technologies to engage with the language and conventions of comics like never before. The Comic Book Film Adaptation explores this unique moment in which cinema is stimulated, challenged, and enriched by the once-dismissed medium of comics.
Film and Comic Books by
Contributions by Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan Gray, Craig Hight, Derek Johnson, Pascal Lefevre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David Wilt In Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based films; and the adaptation of films into comics. A wide range of comic/film adaptations are explored, including superheroes (Spider-Man), comic strips (Dick Tracy), realist and autobiographical comics (American Splendor; Ghost World), and photo-montage comics (Mexico's El Santo). Essayists discuss films beginning with the 1978 Superman. That success led filmmakers to adapt a multitude of comic books for the screen including Marvel's Uncanny X-Men, the Amazing Spider-Man, Blade, and the Incredible Hulk as well as alternative graphic novels such as From Hell, V for Vendetta, and Road to Perdition. Essayists also discuss recent works from Mexico, France, Germany, and Malaysia.
Adaptation: Studying Film and Literature by 
Alien Identities by
A lively reexamination of the 'alien' as metaphor in film and fiction. Case studies include The Fly movies, Alien series, and Dracula.
Novels into Film by
First published in 1957, this seminal work of film theory analyzes the process--"the mysterious alchemy"--by which novels are transformed into films. Beginning with a discussion of the aesthetic limits of both the novel and the film, George Bluestone goes on to offer close readings of six films based on novels of serious literary merit--The Informer, Wuthering Heights, The Grapes of Wrath, Pride and Prejudice, The Ox-Bow Incident, and Madame Bovary--focusing on the additions, deletions, and other changes made by the filmmakers in adapting the source material for the screen. Based on both in-depth research into film archives and libraries and on interviews with the screenwriters, directors, and producers who worked on these films, Novels into Filmconcludes that because the novel lends itself to states of consciousness and the film to observed reality, the adaptation of one from the other produces a new and wholly autonomous art form.
Narration in the Fiction Film by
First Published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.
Adaptation Revisited by
Offers a critical reappraisal of a prolific and popular genre, as well as bringing new material into the broader field of Television Studies. Surveys the traditional discourses about adaptation, unearthing the unspoken assumptions and common misconceptions that underlie them and explores the problems inherent in previous approaches, developing an original perspective that considers the particularly televisual nature of this genre. Examines four major British serials: 'Brideshead Revisited', 'Pride and Prejudice', 'Moll Flanders', and 'The Tenant of Wildfell Hall' revealing the genre's importance in constituting and moderating our understanding of the past and of television itself. The first sustained and coherent book on the subject in almost a decade.
Coming to Terms by
"A stimulating book, not least because Chatman masters the diffcult art of writing theory in a lucid and interesting manner....Coming to Terms offers a number of original insights and suggestions, and where it does not do so, it provides a clear and useful exposition of the relevant ideas and arguments put forward by other scholars. For those interested in narrative theory or in the relation between fiction and film, coming to terms with this book will be a worthwhile endeavor."
Film and Literature by
The Routledge new edition of this classic book functions as an accessible introduction to the historical and theoretical exchanges between film and literature and also includes the key critical readings necessary for an understanding of this increasingly vibrant and popular field of adaption studies. This new edition has been fully updated and is usefully separated into three sections: in the first section Timothy Corrigan guides readers through the history of film and literature to the present; the second section has expanded to reprint 28 key essays by leading theorists in the field including André Bazin, Linda Hutcheon and Robert Stam, as well as new essays by Timothy Corrigan and William Galperin; and the third section offers hands-on strategies and advice for students writing about film and literature. Film and Literature will fill a gap for many film and literature courses and courses concentrating on the interplay between the two. The companion website features an interactive timeline, extended filmography and comprehensive bibliography, by Geoff Wright, Samford University, USA.　 www.routledge.com/cw/corrigan
Narrative Discourse by
""This book is generally considered one of the most- significant contributions to literary criticism in the 1970's, and it is almost essential or anyone doing serious study of narrative. The book is difficult and introduces a great deal of terminology, some of which has already been adopted by critics. It is well organized and systematic, a good example of what Robert Pirsig called the classical manner, a whole divided into its subordinate parts, those parts being further subdivided. To illustrate the use of his narrative analysis Genette applies it to Proust's Remembrance of Things Past and provides us with an insight into that great series." ?Lawrence J. Gorman"
Now a Major Motion Picture by
Now a Major Motion Picture is a unique look at the many sources, literary and otherwise, that influence film adaptations. Christine Geraghty subverts the idea that film adaptations of novels and plays must be faithful to the original texts. She is more interested in how, while a film reflects its literary source, it also invites comparisons to our memories and associations with other versions. Geraghty looks at a variety of adaptations, from the works of Jane Austen and Tennessee Williams to Brokeback Mountain and the adaptation of a setting, historical New York City.
Narrative in Fiction and Film by
Narrative in Fiction and Film gives a clear presentation of key concepts of narrative theory. A growing field in the humanities, narrative theory (or 'narratology') studies such narratives, thus discussing central questions concerning human communication.This introductory book has a two-part structure: Part I presents key concepts of narrative theory - for example, author, narrator, time, perspective, event, characterization. The discussion is oriented towards narrative fiction and centred on literary texts, yet since film can also have animportant narrative dimension, the film aspect is brought into each chapter.Part II analyses five prose texts: the parable of the sower in St. Mark's Gospel, Franz Kafka's The Trial, James Joyce's 'The Dead', Joseph Conrad's Heart of Darkness, and Virginia Woolf's To the Lighthouse. Part II also discusses film versions of four of these texts: Orson Welles's The Trial, JohnHuston's The Dead, Francis Ford Coppola's Apocalypse Now, and Colin Gregg's To the Lighthouse.The book brings together and lucidly presents concepts and theories in narrative theory, and illustrates and tests theses theories. It will be an invaluable text for undergraduates studying narrative theory as part of a literature or film studies course.
Film Adaptation by
Some of the earliest feature films were derived from classic literature. Even today, most of the movies we see are adaptations of one kind or another. People who have never read Jane Austen can see her characters on the screen; but filmgoers can also see material taken from theater, television, comic books, and every other medium. The essays in this volume, most of which have never before been published, raise fundamental questions about cinema and adaptation: what is the nature of the "literary" and the "cinematic"? Why do so many of the films described as adaptions seem to derive from canonical literature rather than from other sources? How do the different media affect the ways stories are told? Film Adaptation offers fresh approaches to the art, theory, and cultural politics of movie adaptations, even challenging what is meant by the term "adaptation" itself. Contributors examine the process of adaptation in both theory and practice, discussing a wide variety of films. James Naremore's introduction provides an accessible historical overview of the field and reveals the importance of adaptation study to the many different academic disciplines now attracted to the analysis of film as commodity, document, and cultural artifact. (Contributors are André Bazin, Dudley Andrew, Robert B. Ray, Robert Stam, Richard Maltby, Guerric DeBona, O. M. B., Gilberto Perez, Michael Anderegg, Matthew Bernstein, Darlene J. Sadlier, Jonathan Rosenbaum, and Lesley Stern.)
