James M. Welsh is Professor Emeritus of English at Salisbury University (Salisbury, Maryland). He cofounded the Literature/Film Quarterly in 1973 and served as its editor for more than 30 years. He also founded the Literature/Film Association. He is the author, editor, or series editor of numerous books, including The Encyclopedia of Filmmakers and The Cinema of Tony Richardson (1999).Peter Lev is Professor of Electronic Media and Film at Towson University. His books include The Euro-American Cinema (1993), American Films of the 1970s: Conflicting Visions (2000) and Volume 7 of the History of the American Cinema series, Transforming the Screen: The Fifties (2003).

Welsh and Lev provide a pleasant mix....This reviewer cannot imagine a more accessible, representative overview of the study of screen adaptations. Highly recommended.

• Part 1 AcknowledgmentsPart 2 Introduction: Issues of Screen Adaptation: What is Truth?Part 3 Part 1: PolemicsChapter 4 Chapter 1 It Wasn't Like That in the Book...Chapter 5 Chapter 2 Literature vs. Literacy: Two Futures for Adaptation StudiesChapter 6 Chapter 3 Adaptation Studies and the History of Ideas: The Case ofApocalypse NowChapter 7 Chapter 4 Adaptation Studies Revisited: Purposes, Perspectives, and InspirationChapter 8 Chapter 5 The Cold War's "Undigested Apple-Dumpling": ImagingMoby-Dick in 1956 and 2001Chapter 9 Chapter 6 Trying Harder: Probability, Objectivity, and Rationality in Adaptation StudiesPart 10 Part II: Classic and Popular LiteratureChapter 11 Chapter 7 WhatIs a "Shakespeare Film," Anyway?Chapter 12 Chapter 8 Returning to Naples: Seeing the End in Shakespeare Film AdaptationChapter 13 Chapter 9 Pop Goes the Shakespeare: Baz Luhrmann'sWilliam Shakespeare's Romeo + JulietChapter 14 Chapter 10 Reframing Adaptation: Representing the Invisible (OnThe House of Mirth, Directed by Terence Davies, 2000)Chapter 15 Chapter 11 Sucking Dracula: Mythic Biography into Fiction in Film, or Why Francis Ford Coppola'sDracula Is Not ReallyBram Stoker's Dracula or Wallachia's DraculaChapter 16 Chapter 12Vertigo, Novel and FilmChapter 17 Chapter 13 Heinlein, Verhoeven, and the Problem of the RealStarship TroopersPart 18 Part III: Politics and AdaptationChapter 19 Chapter 14 Literary Hardball: The Novel-to-Screen Complexities ofThe Manchurian CandidateChapter 20 Chapter 15The Oak: A Balancing Act from Page to ScreenChapter 21 Chapter 16 Adaptation and the Cold War: Mankiewicz'sThe Quiet AmericanChapter 22 Chapter 17 All the Quiet AmericansPart 23 Part IV: History, Biography, and MemoirChapter 24 Chapter 18Camille Claudel: Biography Constructed as MelodramaChapter 25 Chapter 19 W. C. Handy Goes Uptown: Hollywood Constructs the American Blues MusicianChapter 26 Chapter 20 Memoir and the Limits of AdaptationChapter 27 Chapter 21 Getting It Right: The Alamo on FilmChapter 28 Chapter 22 "Plains" Speaking: Sound, Sense, and Sensibility in Ang Lee'sRIde with the DevilPart 29 Part V: Epilogue: The Future of Adaptation StudiesChapter 30 Chapter 23 Whare Are We Going, Where Have We Been?Chapter 31 Chapter 24 The Future of Adaptation StudiesPart 32 IndexPart 33 About the EditorsPart 34 About the Contributors

James M. Welsh is Professor Emeritus of English at Salisbury University (Salisbury, Maryland). He cofounded the Literature/Film Quarterly in 1973 and served as its editor for more than 30 years. He also founded the Literature/Film Association. He is the author, editor, or series editor of numerous books, including The Encyclopedia of Filmmakers and The Cinema of Tony Richardson (1999).Peter Lev is Professor of Electronic Media and Film at Towson University. His books include The Euro-American Cinema (1993), American Films of the 1970s: Conflicting Visions (2000) and Volume 7 of the History of the American Cinema series, Transforming the Screen: The Fifties (2003).

Welsh and Lev provide a pleasant mix....This reviewer cannot imagine a more accessible, representative overview of the study of screen adaptations. Highly recommended.

• Part 1 AcknowledgmentsPart 2 Introduction: Issues of Screen Adaptation: What is Truth?Part 3 Part 1: PolemicsChapter 4 Chapter 1 It Wasn't Like That in the Book...Chapter 5 Chapter 2 Literature vs. Literacy: Two Futures for Adaptation StudiesChapter 6 Chapter 3 Adaptation Studies and the History of Ideas: The Case ofApocalypse NowChapter 7 Chapter 4 Adaptation Studies Revisited: Purposes, Perspectives, and InspirationChapter 8 Chapter 5 The Cold War's "Undigested Apple-Dumpling": ImagingMoby-Dick in 1956 and 2001Chapter 9 Chapter 6 Trying Harder: Probability, Objectivity, and Rationality in Adaptation StudiesPart 10 Part II: Classic and Popular LiteratureChapter 11 Chapter 7 WhatIs a "Shakespeare Film," Anyway?Chapter 12 Chapter 8 Returning to Naples: Seeing the End in Shakespeare Film AdaptationChapter 13 Chapter 9 Pop Goes the Shakespeare: Baz Luhrmann'sWilliam Shakespeare's Romeo + JulietChapter 14 Chapter 10 Reframing Adaptation: Representing the Invisible (OnThe House of Mirth, Directed by Terence Davies, 2000)Chapter 15 Chapter 11 Sucking Dracula: Mythic Biography into Fiction in Film, or Why Francis Ford Coppola'sDracula Is Not ReallyBram Stoker's Dracula or Wallachia's DraculaChapter 16 Chapter 12Vertigo, Novel and FilmChapter 17 Chapter 13 Heinlein, Verhoeven, and the Problem of the RealStarship TroopersPart 18 Part III: Politics and AdaptationChapter 19 Chapter 14 Literary Hardball: The Novel-to-Screen Complexities ofThe Manchurian CandidateChapter 20 Chapter 15The Oak: A Balancing Act from Page to ScreenChapter 21 Chapter 16 Adaptation and the Cold War: Mankiewicz'sThe Quiet AmericanChapter 22 Chapter 17 All the Quiet AmericansPart 23 Part IV: History, Biography, and MemoirChapter 24 Chapter 18Camille Claudel: Biography Constructed as MelodramaChapter 25 Chapter 19 W. C. Handy Goes Uptown: Hollywood Constructs the American Blues MusicianChapter 26 Chapter 20 Memoir and the Limits of AdaptationChapter 27 Chapter 21 Getting It Right: The Alamo on FilmChapter 28 Chapter 22 "Plains" Speaking: Sound, Sense, and Sensibility in Ang Lee'sRIde with the DevilPart 29 Part V: Epilogue: The Future of Adaptation StudiesChapter 30 Chapter 23 Whare Are We Going, Where Have We Been?Chapter 31 Chapter 24 The Future of Adaptation StudiesPart 32 IndexPart 33 About the EditorsPart 34 About the Contributors

James M. Welsh is Professor Emeritus of English at Salisbury University (Salisbury, Maryland). He cofounded the Literature/Film Quarterly in 1973 and served as its editor for more than 30 years. He also founded the Literature/Film Association. He is the author, editor, or series editor of numerous books, including The Encyclopedia of Filmmakers and The Cinema of Tony Richardson (1999).Peter Lev is Professor of Electronic Media and Film at Towson University. His books include The Euro-American Cinema (1993), American Films of the 1970s: Conflicting Visions (2000) and Volume 7 of the History of the American Cinema series, Transforming the Screen: The Fifties (2003).

Welsh and Lev provide a pleasant mix....This reviewer cannot imagine a more accessible, representative overview of the study of screen adaptations. Highly recommended.

• Part 1 AcknowledgmentsPart 2 Introduction: Issues of Screen Adaptation: What is Truth?Part 3 Part 1: PolemicsChapter 4 Chapter 1 It Wasn't Like That in the Book...Chapter 5 Chapter 2 Literature vs. Literacy: Two Futures for Adaptation StudiesChapter 6 Chapter 3 Adaptation Studies and the History of Ideas: The Case ofApocalypse NowChapter 7 Chapter 4 Adaptation Studies Revisited: Purposes, Perspectives, and InspirationChapter 8 Chapter 5 The Cold War's "Undigested Apple-Dumpling": ImagingMoby-Dick in 1956 and 2001Chapter 9 Chapter 6 Trying Harder: Probability, Objectivity, and Rationality in Adaptation StudiesPart 10 Part II: Classic and Popular LiteratureChapter 11 Chapter 7 WhatIs a "Shakespeare Film," Anyway?Chapter 12 Chapter 8 Returning to Naples: Seeing the End in Shakespeare Film AdaptationChapter 13 Chapter 9 Pop Goes the Shakespeare: Baz Luhrmann'sWilliam Shakespeare's Romeo + JulietChapter 14 Chapter 10 Reframing Adaptation: Representing the Invisible (OnThe House of Mirth, Directed by Terence Davies, 2000)Chapter 15 Chapter 11 Sucking Dracula: Mythic Biography into Fiction in Film, or Why Francis Ford Coppola'sDracula Is Not ReallyBram Stoker's Dracula or Wallachia's DraculaChapter 16 Chapter 12Vertigo, Novel and FilmChapter 17 Chapter 13 Heinlein, Verhoeven, and the Problem of the RealStarship TroopersPart 18 Part III: Politics and AdaptationChapter 19 Chapter 14 Literary Hardball: The Novel-to-Screen Complexities ofThe Manchurian CandidateChapter 20 Chapter 15The Oak: A Balancing Act from Page to ScreenChapter 21 Chapter 16 Adaptation and the Cold War: Mankiewicz'sThe Quiet AmericanChapter 22 Chapter 17 All the Quiet AmericansPart 23 Part IV: History, Biography, and MemoirChapter 24 Chapter 18Camille Claudel: Biography Constructed as MelodramaChapter 25 Chapter 19 W. C. Handy Goes Uptown: Hollywood Constructs the American Blues MusicianChapter 26 Chapter 20 Memoir and the Limits of AdaptationChapter 27 Chapter 21 Getting It Right: The Alamo on FilmChapter 28 Chapter 22 "Plains" Speaking: Sound, Sense, and Sensibility in Ang Lee'sRIde with the DevilPart 29 Part V: Epilogue: The Future of Adaptation StudiesChapter 30 Chapter 23 Whare Are We Going, Where Have We Been?Chapter 31 Chapter 24 The Future of Adaptation StudiesPart 32 IndexPart 33 About the EditorsPart 34 About the Contributors