Screening Text
Critical Perspectives on Film Adaptation
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About the Book
Rather than limiting the cinema, as certain French New Wave critics feared, adaptation has encouraged new inspiration to explore the possibilities of the intersection of text and film. This collection of essays covers various aspects of adaptation studies—questions of genre and myth, race and gender, readaptation, and pedagogical and practical approaches.
About the Author(s)
Bibliographic Details
Edited by Shannon Wells-Lassagne and Ariane Hudelet
Format: softcover (6 x 9)
Pages: 256
Bibliographic Info: notes, bibliographies, index
Copyright Date: 2013
pISBN: 978-0-7864-7230-7
eISBN: 978-1-4766-0165-6
Imprint: McFarland
Table of Contents
Table of Contents
Introduction
Shannon Wells-Lassagne and Ariane Hudelet 1
Part 1. Setting the Scene
Adaptation, Sound and Shakespeare in the 1930s
Deborah Cartmell 9
Postmodern Screened Writers
Kamilla Elliott 22
Part 2. Adapting Genre
True Stories: Film and the Non-Fiction Narrative
Kevin Dwyer 43
The Writing of a Film Noir: Ernest Hemingway and The Killers
Delphine Letort 53
Three Filmic Avatars of The Maltese Falcon
Gilles Menegaldo 66
The Aesthetic of Epic in Kenneth Branagh’s Hamlet
Sarah Hatchuel 77
Part 3. Sociocultural Concerns: Race and Gender
White Lies, Noir Lighting, Dark Others
Joyce Goggin 87
Making Red Black: Race and The Shawshank Redemption
Donald Ulin 100
Shaft’s Political Shifts
Hélène Charlery 114
Sexual Politics: The Last September, Novel and Film
Shannon Wells-Lassagne 129
Jane Austen Goes to Bollywood … with a Pinch of Salt
Florence Cabaret 140
Part 4. Aesthetics of Adaptation
Surface and Depth in Korea
Nicole Cloarec 153
The Visible in Howards End and The Remains of the Day
Karim Chabani 164
Adapting E. M. Forster’s Subversive Aesthetics
Laurent Mellet 174
Part 5. Remakes and Readaptation
Re-Adaptation as Part of the Myth: Orson Welles and Don
Quixote’s “Outings”
Sébastien Lefait 185
Bad Shakespeare: Adapting a Tradition
Charles Holdefer 197
Readapting “the Horror”: Versions of Conrad’s Heart of Darkness
Gene M. Moore 207
Three Scarfaces: Documents, Messages and Works of Art
Dominique Sipière 216
Conclusion: From Theory to Practice
Lost in Adaptation—A Producer’s View
Roger Shannon 231
Bibliography 239
About the Contributors 241
Index 245
