Title Details

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).

List of Contributors viii

Acknowledgments xi

Foreword: Kamilla Elliott xii

100+ Years of Adaptations, or, Adaptation as the Art Form of Democracy 1
Deborah Cartmell

Part I History and Contexts: From Image to Sound 15

1 Literary Adaptation in the Silent Era 17
Judith Buchanan

2 Writing on the Silent Screen 33
Gregory Robinson

3 Adaptation and Modernism 52
Richard J. Hand

4 Sound Adaptation: Sam Taylor’s The Taming of the Shrew 70
Deborah Cartmell

Part II Approaches 85

5 Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter? 87
Thomas Leitch

6 Film Authorship and Adaptation 105
Shelley Cobb

7 The Business of Adaptation: Reading the Market 122
Simone Murray

Part III Genre: Film, Television 141

8 Adapting the X-Men: Comic-Book Narratives in Film Franchises 143
Martin Zeller-Jacques

9 The Classic Novel on British Television 159
Richard Butt

Part IV Authors and Periods 177

10 Screened Writers 179
Kamilla Elliott

11 Murdering Othello 198
Douglas M. Lanier

12 Hamlet’s Hauntographology: Film Philology, Facsimiles, and Textual Faux-rensics 216
Richard Burt

13 Shakespeare to Austen on Screen 241
Lisa Hopkins

14 Austen and Sterne: Beyond Heritage 256
Ariane Hudelet

15 Neo-Victorian Adaptations 272
Imelda Whelehan

Part V Beyond Authors and Canonical Texts 293

16 Costume and Adaptation 295
Pamela Church Gibson and Tamar Jeffers McDonald

17 Music into Movies: The Film of the Song 312
Ian Inglis

18 Rambo on Page and Screen 330
Jeremy Strong

Part VI Case Studies: Adaptable and Unadaptable Texts 343

19 Writing for the Movies: Writing and Screening Atonement (2007) 345
Yvonne Griggs

20 Foregrounding the Media: Atonement (2007) as an Adaptation 359
Christine Geraghty

21 Paratextual Adaptation: Heart of Darkness as Hearts of Darkness via Apocalypse Now 374
Jamie Sherry

22 Authorship, Commerce, and Harry Potter 391
James Russell

23 Adapting the Unadaptable – The Screenwriter’s Perspective 408
Diane Lake

Index 416

“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)

"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)