By Deborah Cartmell

It is a entire choice of unique essays that discover the aesthetics, economics, and mechanics of motion picture version, from the times of silent cinema to modern franchise phenomena. that includes more than a few theoretical methods, and chapters at the old, ideological and fiscal features of variation, the amount displays today’s recognition of intertextuality as an important and revolutionary cultural strength.

  • Incorporates new learn in model stories
  • Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
  • Showcases paintings by means of top Shakespeare variation students
  • Explores interesting subject matters reminiscent of ‘unfilmable’ texts
  • Includes designated concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness

Content:
Chapter 1 Literary edition within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent reveal (pages 33–51): Gregory Robinson
Chapter three variation and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound variation (pages 70–83): Deborah Cartmell
Chapter five variation and Intertextuality, or, What isn't really an version, and What does it topic? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and variation (pages 105–121): Shelley Cobb
Chapter 7 The company of edition (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 version (pages 293–311): Pamela Church Gibson and Tamar Jeffers McDonald
Chapter 17 track into video clips (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and display (pages 330–341): Jeremy Strong
Chapter 19 Writing for the films (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 point of view (pages 408–415): Diane Lake

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Additional info for A Companion to Literature, Film, and Adaptation

Sample text

Inserting material into movies seems alien by contemporary standards, but whereas modern films are the artistic property of the studios, movies in the early period served more as raw material for the exhibitors. The first real “stars” of moving pictures were these exhibitors, who had a great deal of creative freedom with the films they either bought or rented from film exchanges. Like vaudevillian showmen, their role was to turn films into a spectacle for their viewers (Musser, 1991: 123). Therefore, exhibitors often ran a movie projector and a slide projector concurrently, and a skilled projectionist could switch between the two quite quickly.

The joy to be had in any one performance, or in any one projected film short from such a program, was, therefore, dependent in no small measure on its contribution to the cumulative variety line-up. The adaptive life of early cinema was certainly not limited to an exclusive relationship with literary texts. In the fluid intermedial traffic of subjects and ideas that characterized the freewheeling cultural momentum of the period, material and styles from vaudeville skits, music-hall acts, magic lantern shows, topical, satirical and saucy cartoons, works of art, tableaux vivants, opera, illustrations, popular songs, and other forms of cultural expression (performed and printed) were variously appropriated, referenced, and re-couched by filmmakers.

The end of How It Feels highlights a new textual power: mobility. The text does not temporally exist for as long as the reader wishes it to do so. Instead, the will of the projector replaces the will of the reader. Movies give text a mobile surface and a newfound freedom, the ability to appear and disappear without the reader’s control. In this case, the words flash onto the screen so quickly that it is almost impossible to read them at a comfortable pace. The entire phrase has appeared and disappeared in less than two seconds.

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