By Deborah Cartmell
It is a accomplished choice of unique essays that discover the aesthetics, economics, and mechanics of motion picture edition, from the times of silent cinema to modern franchise phenomena. that includes a number of theoretical techniques, and chapters at the ancient, ideological and monetary points of model, the amount displays today’s recognition of intertextuality as a necessary and revolutionary cultural strength.
- Incorporates new examine in variation reviews
- Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
- Showcases paintings through prime Shakespeare version students
- Explores interesting themes reminiscent of ‘unfilmable’ texts
- Includes unique issues of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
Chapter 1 Literary edition within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent monitor (pages 33–51): Gregory Robinson
Chapter three edition and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound edition (pages 70–83): Deborah Cartmell
Chapter five edition and Intertextuality, or, What isn't really an variation, and What does it subject? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and edition (pages 105–121): Shelley Cobb
Chapter 7 The company of model (pages 122–139): Simone Murray
Chapter eight Adapting the X?Men (pages 141–158): Martin Zeller?Jacques
Chapter nine The vintage Novel on British tv (pages 159–175): Richard Butt
Chapter 10 Screened Writers (pages 177–197): Kamilla Elliott
Chapter eleven Murdering Othello (pages 198–215): Douglas M. Lanier
Chapter 12 Hamlet's Hauntographology (pages 216–240): Richard Burt
Chapter thirteen Shakespeare to Austen on monitor (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past history (pages 256–271): Ariane Hudelet
Chapter 15 Neo?Victorian variations (pages 272–291): Imelda Whelehan
Chapter sixteen gown and edition (pages 293–311): Pamela Church Gibson and Tamar Jeffers McDonald
Chapter 17 song into videos (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and reveal (pages 330–341): Jeremy Strong
Chapter 19 Writing for the flicks (pages 343–358): Yvonne Griggs
Chapter 20 Foregrounding the Media (pages 359–373): Christine Geraghty
Chapter 21 Paratextual model (pages 374–390): Jamie Sherry
Chapter 22 Authorship, trade, and Harry Potter (pages 391–407): James Russell
Chapter 23 Adapting the Unadaptable – The Screenwriter's standpoint (pages 408–415): Diane Lake
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Additional resources for A Companion to Literature, Film, and Adaptation
The Lasky ‘Oliver Twist’: J. D. ” The Bioscope, February 1, 1917, 429. Lindsay, Vachel. The Art of the Motion Picture, Rev. edn. 1922. New York: Liveright Publishing Corporation, 1970. MacFarlane, Brian. Ed. The Encyclopedia of British Film. London: Methuen, 2003. McKernan, Luke. ” In Moving Performance: British Stage and Screen, 1890s– 1920s. Eds. Linda Fitzsimmons and Sarah Street. Trowbridge: Flicks Books, 2000, 56–68. Merritt, Russell. “Rescued from a Perilous Nest: D. W. ” Cinema Journal, 21:1, 1981, 2–30.
The practice also makes an important statement about the way text can act to assert ownership. Uncle Josh at the Moving Picture Show recreates R. W. Paul’s Countryman and the Cinematograph (1901) scene for scene, using Edison’s shorts. The slides, however, make a point of identifying every work as an Edison product, staking a claim to it, and discouraging any later efforts to remake the ﬁlm. Porter used a distinctive font to introduce internal ﬁlms until 1906, when die-cast letters replaced the hand-drawn cards.
W. Grifﬁth’s Judith of Bethulia (1914) starring Blanche Sweet is commercially available (Bach Films) (see Buchanan, forthcoming); Murnau’s Nosferatu (1922) is multiply commercially available (including on Elstree Hill). References Altman, Rick. Silent Film Sound. New York: Columbia University Press, 2004. Andrew, Dudley. Concepts in Film Theory. Oxford: Oxford University Press, 1984. The Bioscope, 22:379, January 15, 1914, 217. Brown, Richard and Barry Anthony. A Victorian Film Enterprise: The History of the British Biograph and Mutoscope Company, 1897–1915.
A Companion to Literature, Film, and Adaptation by Deborah Cartmell