Kate Griffiths is Professor of French and Translation Studies at Cardiff University, Wales, UK. She has published widely on the multimedia adaptation of literary sources. Her first book focused on literature and cinema (Zola and the Artistry of Adaptation, 2009) and her second on multi-media adaptation of nineteenth-century texts (Adapting Nineteenth-Century France, 2013). Her third book analysed the relationship between literature and television, (Zola and the Art of Television, 2020) She is currently working on a monograph on the adaptation of world literature on BBC radio.Andrew Watts is Reader in French Studies at the University of Birmingham, UK. He is the author of Preserving the Provinces: Small Town and Countryside in the Work of Honoré de Balzac (2007), co-author (with Kate Griffiths) of Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio and Print (2013), and co-editor (with Owen Heathcote) of The Cambridge Companion to Balzac (2017). He has written numerous articles and book chapters on multimedia adaptation, most notably in relation to nineteenth-century French literature.

Kate Griffiths and Andrew Watts pass the baton of adaptation between them, chapter to chapter, and never flag in their 125-year relay race through film history. They focus on French literary sources because so many producers, directors and spectators—not just French ones—have always done so. Across wildly distinct periods of national and transnational history, French literature has been passed around, becoming itself a highly valued cultural relay. It has been honored, toyed with, profited from, and often re-energized in an unregulated fairground economy that the authors delight in exposing.

• List of FiguresAcknowledgementsIntroductionKate Griffiths1.The Currency of Adaptation: Art and Money in Silent Cinema (1899–1929)Andrew Watts2.Who is Adaptation? Interpersonal Transactions in Film (1927–39)Kate Griffiths3.Politics, Propaganda, and the Censored Screen: Adapting French Literature during the German Occupation (1940–44)Andrew Watts4.The Formative Function of the Dominant Film Poetics: The Impact of Film Movement, Moment, and Genre (1945–70)Kate Griffiths5.The History of Adaptation/Adaptation and History (1970–2004)Kate Griffiths6.Textual Migration and Adaptive Diaspora: French Literature Adaptations Beyond France (1996–2016)Andrew WattsConclusionAndrew WattsBibliographyIndex

Kate Griffiths is Professor of French and Translation Studies at Cardiff University, Wales, UK. She has published widely on the multimedia adaptation of literary sources. Her first book focused on literature and cinema (Zola and the Artistry of Adaptation, 2009) and her second on multi-media adaptation of nineteenth-century texts (Adapting Nineteenth-Century France, 2013). Her third book analysed the relationship between literature and television, (Zola and the Art of Television, 2020) She is currently working on a monograph on the adaptation of world literature on BBC radio.Andrew Watts is Reader in French Studies at the University of Birmingham, UK. He is the author of Preserving the Provinces: Small Town and Countryside in the Work of Honoré de Balzac (2007), co-author (with Kate Griffiths) of Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio and Print (2013), and co-editor (with Owen Heathcote) of The Cambridge Companion to Balzac (2017). He has written numerous articles and book chapters on multimedia adaptation, most notably in relation to nineteenth-century French literature.

Kate Griffiths and Andrew Watts pass the baton of adaptation between them, chapter to chapter, and never flag in their 125-year relay race through film history. They focus on French literary sources because so many producers, directors and spectators—not just French ones—have always done so. Across wildly distinct periods of national and transnational history, French literature has been passed around, becoming itself a highly valued cultural relay. It has been honored, toyed with, profited from, and often re-energized in an unregulated fairground economy that the authors delight in exposing.

• List of FiguresAcknowledgementsIntroductionKate Griffiths1.The Currency of Adaptation: Art and Money in Silent Cinema (1899–1929)Andrew Watts2.Who is Adaptation? Interpersonal Transactions in Film (1927–39)Kate Griffiths3.Politics, Propaganda, and the Censored Screen: Adapting French Literature during the German Occupation (1940–44)Andrew Watts4.The Formative Function of the Dominant Film Poetics: The Impact of Film Movement, Moment, and Genre (1945–70)Kate Griffiths5.The History of Adaptation/Adaptation and History (1970–2004)Kate Griffiths6.Textual Migration and Adaptive Diaspora: French Literature Adaptations Beyond France (1996–2016)Andrew WattsConclusionAndrew WattsBibliographyIndex

Kate Griffiths is Professor of French and Translation Studies at Cardiff University, Wales, UK. She has published widely on the multimedia adaptation of literary sources. Her first book focused on literature and cinema (Zola and the Artistry of Adaptation, 2009) and her second on multi-media adaptation of nineteenth-century texts (Adapting Nineteenth-Century France, 2013). Her third book analysed the relationship between literature and television, (Zola and the Art of Television, 2020) She is currently working on a monograph on the adaptation of world literature on BBC radio.Andrew Watts is Reader in French Studies at the University of Birmingham, UK. He is the author of Preserving the Provinces: Small Town and Countryside in the Work of Honoré de Balzac (2007), co-author (with Kate Griffiths) of Adapting Nineteenth-Century France: Literature in Film, Theatre, Television, Radio and Print (2013), and co-editor (with Owen Heathcote) of The Cambridge Companion to Balzac (2017). He has written numerous articles and book chapters on multimedia adaptation, most notably in relation to nineteenth-century French literature.

Kate Griffiths and Andrew Watts pass the baton of adaptation between them, chapter to chapter, and never flag in their 125-year relay race through film history. They focus on French literary sources because so many producers, directors and spectators—not just French ones—have always done so. Across wildly distinct periods of national and transnational history, French literature has been passed around, becoming itself a highly valued cultural relay. It has been honored, toyed with, profited from, and often re-energized in an unregulated fairground economy that the authors delight in exposing.

• List of FiguresAcknowledgementsIntroductionKate Griffiths1.The Currency of Adaptation: Art and Money in Silent Cinema (1899–1929)Andrew Watts2.Who is Adaptation? Interpersonal Transactions in Film (1927–39)Kate Griffiths3.Politics, Propaganda, and the Censored Screen: Adapting French Literature during the German Occupation (1940–44)Andrew Watts4.The Formative Function of the Dominant Film Poetics: The Impact of Film Movement, Moment, and Genre (1945–70)Kate Griffiths5.The History of Adaptation/Adaptation and History (1970–2004)Kate Griffiths6.Textual Migration and Adaptive Diaspora: French Literature Adaptations Beyond France (1996–2016)Andrew WattsConclusionAndrew WattsBibliographyIndex