Adaptations

Deborah Cartmell is Professor of English and Associate Pro Vice-Chancellor, Research, at De Montfort University, UK.Imelda Whelehan is Research Professor and Dean in the Graduate Research School at the University of Western Australia.

This carefully considered, clever collection offers a treasure trove of sources on this most compelling and enduring of art forms, reaching both back to Adaptation Studies’ underappreciated past and forward to its as yet uncharted future. The work is valuable, insightful, and important.

• Adaptation Histories Volume 11. 1915, rev. 1922: Vachel Lindsay, The Art of the Moving Picture, Chapter XII 2. 1926: Virginia Woolf, ‘The Cinema’, Virginia Woolf, Selected Essays, ed. David Bradshaw, Oxford University Press, 2008,pp. 172-76. http://www.woolfonline.com/timepasses/?q=essays/cinema/fullhttps://www.bl.uk/collection-items/the-cinema-by-virginia-woolf-from-the-nation-and-athenaeum3. 1944: Sergei Eisenstein, ‘Dickens, Griffith, and the Film Today’, Film Form, trans. Jay Leyda, New York: Harcourt Brace, 1947, pp. 195-255.4. 1948: André Bazin, ‘Adaptation, or the Cinema as Digest’, Esprit 16 (146) 32-40.5. 1951: Lester Asheim, ‘From Book to Film: Mass Appeals’, Hollywood Quarterly, Vol. 5, No. 4 (Summer 1951),pp. 334-349.6. 1952: Lester Asheim, ‘From Book to Film: Summary’, Hollywood Quarterly, Vol 6, No. 3 (Spring 1952),pp. 258-273.7. 1952: André Bazin, ‘In Defense of Mixed Cinema.” In What is Cinema? Trans. Hugh Gray. University of California Press, Vol. 1. 53-75 https://filmadaptation.qwriting.qc.cuny.edu/files/2012/08/Bazin-Defense-of-Mixed-Cinema.pdf8. 1954: Francois Truffaut, ‘A Certain Tendency of the French Cinema’, Cahiers du Cinéma, 1954, in Movies and Methods Vol. 1, ed. Bill Nichols (Berkeley: University of California Press, 1974), pp. 224- 37.9. 1957: George Bluestone, ‘The Limits of the Novel and the Limits of Film’, Novels into Film, Berkeley: University of California Press, pp. 1-64. 10. 1969: Robert D. Richardson, ‘Literary Origins and Backgrounds of the Film’, Literature and Film, Bloomington and London: Indiana University Press, pp. 17-34.11. 1975: Geoffrey Wagner, ‘The Problem of Popularity’, The Novel and the Cinema, Michigan: University of Michigan Press, pp. 25-?12. 1978: Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film, Ithaca, NY: Cornell University Press, 15-42. 13. 1980: Dudley Andrew, 'The Well-Worn Muse: Adaptation in Film History and Theory'. In Narrative Strategies. Eds. Syndy M. Conger and Janet R. Welsh. Western Illinois University Press, 1980. 9-17.14. 1982: John Ellis, "The Literary Adaptation." Screen 23 (1982): 3-5.15. 1992: Patrick Cattrysse, ‘Film (Adaptation) as Translation: Some Methodological Proposals’, Target: International Journal of Translation Studies 4, 53-70.16. 1992: Henry Jenkins, 'Get a Life!: Fans, Poachers, Nomads’, Textual Poachers: Television, Fans and Participatory Culture, London: Routledge, pp. 9-50. 17. 1993: Harriett Hawkins, ‘Shared Dreams: Reproducing Gone with the Wind’. In Peter Reynolds (ed.) Novel Images: Literature in Performance, London: Routledge, 1993, pp. 122-138.18. 1993: Walter C. Metz, ‘Pomp(ous) Sirk-umstance: Intertextuality, Adaptation and All that Heaven Allows’, Journal of Film and Video 45. 4 (Winter, 1993), pp. 3-21. Volume 219. 1996: Brian McFarlane, ‘Backgrounds, Issues and a New Agenda’, Novel to Film: An Introduction to the Theory of Adaptation, pp. 1-30.20. 1998: Holly Blackford, ‘Little Women on the Big Screen: Heterosexual Womanhood as Social Performance’, Sisterhoods: Across the Literature/Film Divide, ed. Deborah Cartmell, Ian Hunter, Heidi Kaye and Imelda Whelehan, London: Pluto, pp. 21. 1999: Derek Paget, ‘Speaking Out: The Transformations of Trainspotting’, Adaptations, ed. Deborah Cartmell and Imelda Whelehan, pp. 128-40.22. 1999: Ken Gelder, ‘Jane Campion and the Limits of Literary Cinema’, Adaptations, pp. 157-71.23. 1999: Imelda Whelehan, ‘Adaptations: The Contemporary Dilemmas’, Adaptations, pp. 3-20. 24. 2000: Richard Burt, ‘Shakespeare in Love and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship’, Shakespeare, Film, Fin de Siecle, ed. Mark Thornton Burnett and Ramona Wray, Palgrave, 2000, pp. 203-231.25. 2000: James Naremore, ‘Introduction’, Film Adaptation, London: The Athlone Press, pp. 1-16.26. 2000 Robert B Ray, ‘The Field of ‘Literature and Film’, Film Adaptation, ed. James Naremore, Rutgers University Press, pp. 38-53. 27. 2003: Kamilla Elliott, ‘Analogy and Category’, Rethinking the Novel/Film Debate, Cambridge: Cambridge University Press, pp. 9-30. 28. 2003: Guerric DeBona, ‘Is there a novel in this film? Or the cultural politics of Adaptation’, in Film Adaptation in the Hollywood Studio Era, Urbana: University of Illinois Press, 2003. pp. 1-36 (abridge?)29. 2003: Thomas M. Leitch, ‘Twelve Fallacies in Contemporary Adaptation Theory’, Criticism 45 (2), 149-171.30. 2005: Robert Stam, ‘Introduction’, Robert Stam and Alexandra Raengo, eds: Literature and Film: A Guide to the Theory and Practice of Film Adaptation, Malden and Oxford: Blackwell, pp.1-52.31. 2004: Ella Shohat, ‘Sacred Word, Profane Image: Theologies of Adaptation’, A Companion to Literature and Film, ed. Robert Stam and Alessandra Raengo (Oxford and Malden: Blackwell), pp.23-45.32. 2006: Linda Hutcheon, ‘Final Questions’, A Theory of Adaptation, London: Routledge, pp.169-78.33. 2006: Julie Sanders, ‘Defining Terms’, Adaptation and Appropriation, London: Routledge, pp. 15-42.34. 2007: Christine Geraghty, ‘Introduction’, Now a Major Motion Picture: Film Adaptations of Literature and Drama, Lanham, Maryland: Rowman and Littlefield, pp.1-14.35. 2007: Timothy Corrigan, ‘Literature on Screen, a History: In the Gap’, The Cambridge Companion to Literature on Screen, ed. Deborah Cartmell and Imelda Whelehan, Cambridge: Cambridge University Press, pp. 29-44.36. 2007: Deborah Cartmell, ‘Adapting Children’s Literature’, The Cambridge Companion to Literature on Screen, pp.167-80.37. 2007: Imelda Whelehan and Deborah Cartmell, ‘A Practical Understanding of Literature on Screen: Two Interviews with Andrew Davies’, The Cambridge Companion to Literature on Screen, pp. 239-51.38. 2007: Thomas Leitch, ‘Literature versus Literacy’, Film Adaptation and its Discontents: from Gone with the Wind to The Passion of the Christ’, Baltimore: Johns Hopkins Press, pp.1-21.Volume 339. 2007: Gary R. Bortolotti and Linda Hutcheon, ‘On the Origin of Adaptations: Rethinking Fidelity. Discourse and “Success”— Biologically’, New Literary History 443-458. 40. Christine Geraghty, ‘Revising the Western: Movement and Description in The Last of the Mohicans and Brokeback Mountain’, in Now A Major Motion Picture, Lanham, Rowman and Littledfield, 2008 pp. 135-16641. 2008: Deborah Cartmell, Timothy Corrigan, Imelda Whelehan, ‘Introduction’, Adaptation 1 (1), 2008, 1-4.42. 2008: Thomas Leitch, ‘Adaptation Studies at a Crossroad’, Adaptation 1 (1), 2008, 63-77.43. 2008: Thomas Leitch, ‘Adaptation, the Genre’, Adaptation 1 (2), 2008, 106-120.44. 2008: Jack Boozer, ‘Introduction: The Screenplay and Authorship in Adaptation’, Authorship in Film Adaptation, ed. Jack Boozer, Austin, University of Texas Press, pp. 1-30.45. 2009: Christine Geraghty, ‘Foregrounding the Media: Atonement (2007) as an Adaptation’, Adaptation 2 (2), 2009, 91-109.46. 2011: Shelley Cobb, ‘Adaptation, Fidelity and Gendered Discourses’, Adaptation 4 (1), 28-37.47. 2011: Clare Parody, ‘Franchising/Adaptation', Adaptation 4 (2), 210-218.48. 2012: Deborah Cartmell, ‘100+ Years of Adaptations, or Adaptation as the Art Form of Democracy’, A Companion to Literature, Film and Adaptation, ed. D Cartmell, Oxford: Blackwell, pp.1-14.49. 2012: Judith Buchanan, ‘Literary Adaptation in the Silent Era’, A Companion to Literature, Film and Adaptation, Oxford: Blackwell, pp. 15-32.50. 2012: Douglas M. Lanier, ‘Murdering Othello’, A Companion to Literature, Film and Adaptation, Oxford: Blackwell, pp. 198-215.51. 2012: Ian Inglis, ‘Music into Movies: The Film of the Song’, A Companion to Literature, Film and Adaptation52. 2013: Rick Warner, ‘The Cinematic Essay as Adaptive Process’, Adaptation 5 (1), 1-24.53. 2013: Laura Marcus, ‘The Writer in Film: Authorship and Imagination’, The Writer on Film: Screening Literary Authorship, ed. Judith Buchanan (Palgrave), pp. 35-49.54. 2015: Deborah Cartmell, ‘Radical Adaptations’, Adaptations in the Sound Era (New York: Bloomsbury).Selection of essays from 2017 LFQ45 (2) 201755. A New Moon for LFQ (Elsie Walker)56. Adaptation, Shakespeare and World Cinema (Mark Thornton Burnett)57. Adaptation as Exploitation (Deborah Cartmell)58. Spectres of Film Adaptation (Saviour Catania)59. How Do We Talk about Adaptation Studies Today (Kamilla Elliott)60. Literature/Film Quarterly Contribution to Roundtable (Linda Hutcheon and Michael Hutcheon)61. Adaptation, Extension, Transmedia (Henry Jenkins)62. Gender, Adaptation, and Justice (Courtney Lehmann)63. The Place of “Literature and Film” Today (Thomas Leitch)64. From Books to Molecules: Adaptation Studies in the 21st Century (Walter Metz)65. Three Key Questions for Adaptation Studies in the Digital Age (Simone Murray)66. Adaptations Today (Laurence Raw)67. The Changing Pedagogies of Adaptation Studies (Robert Stam) 68. Kyle Meikle, ‘A Theory of Adaptation Audiences’ LFQ45 (4) 201769. Madeleine Hunter, Bric[k]olage: Adaptation as Play in The Lego Movie (2014), 2018 Adaptation 11 (3), 201870. Thomas Leitch ‘American Cinema and American Literatures’ (2019), Bloomsbury Academic