Literature, Film, and Their Hideous Progeny

Julie Grossman is Professor of English and Communication and Film Studies at Le Moyne College in Syracuse, New York, where she teaches courses in literature, film, and gender and cultural studies. She has published numerous scholarly articles on film, literature, art, and adaptation. Grossman is co-editor of A Due Voci: The Photography of Rita Hammond (2003), author of Rethinking the Femme Fatale in Film Noir: Ready for her Close-Up (2009, 2012), and her co-authored monograph (with Therese Grisham) on the directing work of Ida Lupino is forthcoming.

"In her provocative and energetic study, Julie Grossman employs the central metaphor of 'hideous progeny.' ... In every sense of the word, Grossman's is a 'vital' contribution to the field of adaptation studies. ... Like other excellent scholars in the field of adaptation studies, Grossman is creating a monster--and for those of us who teach and write about the process, this is thrilling stuff indeed." (Nancy M. West, South Atlantic Review (SAR), Vol. 81 (2), 2016)

• List of Figures Acknowledgements Introduction PART I: JOURNEYS AND AUTHORSHIP 1. 'It's Alive!': The Monster and the Automaton as Film and Filmmakers 2. Lightening Up: Reappearing Hearts of Darkness 3. Hideous Fraternities: The Coen Brothers Hit the Road PART II: TEXTUAL AND MARGINAL IDENTITIES 4. Imitations of Life and Art 5. The Quiet Presence of 'The Yellow Wallpaper' in Todd Haynes's [Safe]' 6. Musical Theater and Independent Film PART III: IMMERSIVE THEATER AND THE MONSTROUS AVANT-GARDE 7. Adapting Time and Place: Avant-Garde Storytelling and Immersive Theater 8. Film Adapts Time: Christian Marclay's The Clock 9. Cape Fear, The Simpsons, and Anne Washburn's Post-Apocalyptic Mr. Burns, a Post-Electric Play Epilogue Works Cited Index