Film Adaptation / Edition 1

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Some of the earliest feature films were derived from classic literature. Even today, most of the movies we see are adaptations of one kind or another. People who have never read Jane Austen can see her characters on the screen; but filmgoers can also see material taken from theater, television, comic books, and every other medium.

The essays in this volume, most of which have never before been published, raise fundamental questions about cinema and adaptation: what is the nature of the "literary" and the "cinematic"? Why do so many of the

films described as adaptions seem to derive from canonical literature rather than from other sources? How do the different media affect the ways stories are told?

Film Adaptation offers fresh approaches to the art, theory, and cultural politics of movie adaptations, even challenging what is meant by the term "adaptation" itself. Contributors examine the process of adaptation in both theory and practice, discussing a wide variety of films. James Naremore's introduction provides an accessible historical overview of the field and reveals the importance of adaptation study to the many different academic disciplines now attracted to the analysis of film as commodity, document, and cultural artifact.

(Contributors are André Bazin, Dudley Andrew, Robert B. Ray, Robert Stam, Richard Maltby, Guerric DeBona, O. M. B., Gilberto Perez, Michael Anderegg, Matthew Bernstein, Darlene J. Sadlier, Jonathan Rosenbaum, and Lesley Stern.)

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Editorial Reviews

"Naremore's provocative collection breaks new ground in both theoretical and practical studies. . . . The work of informed, thoughtful writers, virtually all the essays are useful reading; combined they convey the crucial, indeed central, importance of adaptation as a critical theoretical category in film studies. Recommended for all collections."
Most of these essays are newly published and raise issues such as the nature of the cinematic vs. the nature of the literary, just why there are so many adaptations, and the effects of the same story told in different mediums. Contributors include Andr<'e> Bazin, Dudley Andrew, Robert B. Ray, and Robert Stam on adaptation in theory; and Richard Maltby, Lesley Stern, and others on adaptation in practice. Topics/films include Welles's Shakespeare on film, , and , , and . Naremore is professor of communication and culture at Indiana University. Annotation c. Book News, Inc., Portland, OR (
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Product Details

  • ISBN-13: 9780813528144
  • Publisher: Rutgers University Press
  • Publication date: 4/1/2000
  • Series: Rutgers Depth of Field Series
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 272
  • Sales rank: 1,002,646
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.61 (d)

Meet the Author

James Naremore is Chancellors' Professor of Communication and Culture at Indiana University. He has edited North by Northwest (Rutgers University Press), and is the author of The Magic World of Orson Welles, Acting in the Cinema, and More than Night: Film Noir in its Contexts.
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Table of Contents

Introduction: Film and the Reign of Adaptation 1
Adaptation in Theory
Adaptation, or the Cinema as Digest 19
Adaptation 28
The Field of "Literature and Film" 38
Beyond Fidelity: The Dialogics of Adaptation 54
Adaptation in Practice
"To Prevent the Prevalent Type of Book": Censorship and Adaptation in Hollywood, 1924-1934 79
Dickens, the Depression, and MGM's David Copperfield 106
Landscape and Fiction: A Day in the Country 129
Welles/Shakespeare/Film: An Overview 154
High and Low: Art Cinema and Pulp Fiction in Yokohama 172
The Politics of Adaptation: How Tasty Was My Little Frenchman 190
Two Forms of Adaptation: Housekeeping and Naked Lunch 206
Emma in Los Angeles: Remaking the Book and the City 221
Annotated Bibliography 239
Contributors 245
Index 247
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Customer Reviews

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  • Anonymous

    Posted February 6, 2003

    Highly recommended

    The finest collection of theory, critical essays on the study of how the two mediums intersect, and examinations of masterly works illuminating the process. The breadth of subjects and theorists represented is exciting (and efficient) for scholars and students alike. I have not yet encountered a single collection coalescing such an impressive representation. The Rutgers Depth of Field series is also highly recommended for the film and literature scholar.

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