Companion to Literature, Film, and Adaptation

Deborah Cartmell is Professor of English and Director of the Centre for Adaptations at De Montfort University, UK. A former chair and founding member of the Association of Adaptation Studies, she is co-editor of two international journals – Shakespeare and Adaptation. Her recent publications include Screen Adaptation: Jane Austen’s Pride and Prejudice (2010) and, with Imelda Whelehan, Screen Adaptation: Impure Cinema (2010).

“Overall, the essays in this collection deal with diverse topics and theoretical concerns of adaptation studies today. They throw light on both often researched and neglected or undervalued works.”  (Poetics Today, 1 May 2015)“Well-written, suggestively arranged in a series of six sections, A Companion to  Literature, Film and Adaptation provides an invaluable resource for anyone interested in debates about the past, present and future of adaptation studies, and why the discipline represents an important advance in the field of interdisciplinary learning … Cartmell’s collection covers just about every area imaginable within adaptation studies, whether historical, theoretical or otherwise … [It] is a far cry from those collections that simply compare source with target texts; it encompasses comic-books, songs, silent cinema as well as more canonical texts and their cinematic variants. There is something for everyone in this volume.”  (Post Script, 2014)"Summing Up: Recommended. Upper-division undergraduates and above." (Choice, 1 November 2013) "A Companion to Literature, Film and Adaptation is open to anybody interested in learning more about the process of translating the printed page into film. Many popular productions on the big and small screen are referenced, such as Anonymous (2011) and Emma (2009), so readers do not need to know Barthes from Bazin to find the Companion both informative and accessible." (Reference Reviews, 27 April 2013)

• List of Contributors viiiAcknowledgments xiForeword: Kamilla Elliott xii100 Years of Adaptations, or, Adaptation as the Art Form of Democracy 1Deborah CartmellPart I History and Contexts: From Image to Sound 151 Literary Adaptation in the Silent Era 17Judith Buchanan2 Writing on the Silent Screen 33Gregory Robinson3 Adaptation and Modernism 52Richard J. Hand4 Sound Adaptation: Sam Taylor’s The Taming of the Shrew 70Deborah CartmellPart II Approaches 855 Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter? 87Thomas Leitch6 Film Authorship and Adaptation 105Shelley Cobb7 The Business of Adaptation: Reading the Market 122Simone MurrayPart III Genre: Film, Television 1418 Adapting the X-Men: Comic-Book Narratives in Film Franchises 143Martin Zeller-Jacques9 The Classic Novel on British Television 159Richard ButtPart IV Authors and Periods 17710 Screened Writers 179Kamilla Elliott11 Murdering Othello 198Douglas M. Lanier12 Hamlet’s Hauntographology: Film Philology, Facsimiles, and Textual Faux-rensics 216Richard Burt13 Shakespeare to Austen on Screen 241Lisa Hopkins14 Austen and Sterne: Beyond Heritage 256Ariane Hudelet15 Neo-Victorian Adaptations 272Imelda WhelehanPart V Beyond Authors and Canonical Texts 29316 Costume and Adaptation 295Pamela Church Gibson and Tamar Jeffers McDonald17 Music into Movies: The Film of the Song 312Ian Inglis18 Rambo on Page and Screen 330Jeremy StrongPart VI Case Studies: Adaptable and Unadaptable Texts 34319 Writing for the Movies: Writing and Screening Atonement (2007) 345Yvonne Griggs20 Foregrounding the Media: Atonement (2007) as an Adaptation 359Christine Geraghty21 Paratextual Adaptation: Heart of Darkness as Hearts of Darkness via Apocalypse Now 374Jamie Sherry22 Authorship, Commerce, and Harry Potter 391James Russell23 Adapting the Unadaptable – The Screenwriter’s Perspective 408Diane LakeIndex 416