However, formatting rules can vary widely between applications and fields of interest or study.The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied.Publisher: New Brunswick, N.J.: Rutgers University Press, 2000.Ray -- Beyond fidelity: the dialogics of adaptation Robert Stam -- To prevent the prevalent type of book: censorship and adaptation in Hollywood, 1924-1934 Richard Maltby -- Dickens, the Depression, and MGMs David Copperfield Guerric DeBona, O.S.B.
Landscape and fiction: A day in the country Gilberto Perez -- WellesShakespearefilm: an overview Michael Anderegg -- High and low: art cinema and pulp fiction in Yokohama Matthew Bernstein -- The politics of adaptation: How tasty was my little Frenchman Darlene J. Contributors examine the process of adaptation in both theory and practice, discussing a wide variety of films. Please select Ok if you would like to proceed with this request anyway. The Companion, as a whole, provides an extensive survey of an increasingly popular field of study. Request full-text Download citation Copy link Link copied Request full-text Download citation Copy link Link copied To read the full-text of this research, you can request a copy directly from the authors. Beyond Fidelity The Dialogics Of Adaptation For Free No FullBeyond Fidelity The Dialogics Of Adaptation Free No FullReferences (19) Discover the worlds research 19 million members 135 million publications 700k research projects Join for free No full-text available To read the full-text of this research, you can request a copy directly from the authors. Request full-text PDF Citations (0) References (19) ResearchGate has not been able to resolve any citations for this publication. Twelve Fallacies in Contemporary Adaptation Theory Article Full-text available Mar 2003 Criticism Thomas Leitch Criticism 45.2 (2003) 149-171. WHAT COULD BE MORE AUDACIOUS than to argue that the study of moving images as adaptations of literary works, one of the very first shelters under which cinema studies originally entered the academy, has been neglected Yet that is exactly what this essay will argue: that despite its venerable history, widespread practice, and apparent influence, adaptation theory has remained tangential to the thrust of film study because it has never been undertaken with conviction and theoretical rigor. By examining a dozen interlinked fallacies that have kept adaptation theory from fulfilling its analytical promise, I hope to claim for adaptation theory more of the power it deserves. There is, as the preceding sentence acknowledges, such a thing as adaptation studies. It is pursued in dozens of books and hundreds of articles in LiteratureFilm Quarterly and in classrooms across the country, from high school to graduate school, in courses with names like Dickens and Film and From Page to Screen. But this flood of study of individual adaptations proceeds on the whole without the support of any more general theoretical account of what actually happens, or what ought to happen, when a group of filmmakers set out to adapt a literary text. As Brian McFarlane has recently observed: In view of the nearly sixty years of writing about the adaptation of novels into film... Despite the appearance of more recent methodologies from the empiricism of Morris Beja to the neo-Aristotelianism of James Griffith, the most influential general account of cinemas relation to literature continues to be George Bluestones tendentious Novels into Film, now nearly half a century old. Bluestones categorical and essentialist treatment of the relations between movies and the books they are based on neglects or begs many crucial questions, and more recent commentators, even when they are as sharp as McFarlane (who will therefore claim particularly close attention in this essay) in taking exception to Bluestone, have largely allowed him to frame the terms of the debate. Hence several fundamental questions in adaptation theory remain unasked, let alone unanswered. Everyone knows, for example, that movies are a collaborative medium, but is adaptation similarly collaborative, or is it the work of a single agentthe screenwriter or directorwith the cast and crew behaving the same way as if their film were based on an original screenplay Since virtually all feature films work from a pre-existing written text, the screenplay, how is a films relation to its literary source different from its relation to its screenplay Why has the novel, rather than the stage play or the short story, come to serve as the paradigm for cinematic adaptations of every kind Given the myriad differences, not only between literary and cinematic texts, but between successive cinematic adaptations of a given literary text, or for that matter between different versions of a given story in the same medium, what exactly is it that film adaptations adapt, or are supposed to adapt Finally, how does the relation between an adaptation and the text it is explicitly adapting compare to its intertextual relationships with scores of other precursor texts. The institutional matrix of adaptation studythe fact that movies are so often used in courses like Shakespeare and Film as heuristic intertexts, the spoonful of sugar that helps the Bards own text go down; the fact that studies of particular literary texts and their cinematic adaptations greatly outnumber more general considerations of what is at stake in adapting a text from one medium to another; the fact that even most general studies of adaptation are shaped by the case studies they seem designed mainly to illuminateguarantees the operation of adaptation studies on a severe economy of theoretical principles which have ossified into. View Show abstract Theorizing Adaptations Adapting Theories Chapter Jan 2013 Kamilla Elliott View Rematerializing adaptation theory Article Jan 2013 Kyle Meikle View A Theory of Adaptation Article Jan 2006 L. ![]() Adaptation, Hutcheon argues, has always been a central mode of the story-telling imagination and deserves to be studied in all its breadth and range as both a process (of creation and reception) and a product unto its own. Persuasive and illuminating, A Theory of Adaptation is a bold rethinking of how adaptation works across all media and genres that may put an end to the age-old question of whether the book was better than the movie, or the opera, or the theme park. View Show abstract The Cambridge Companion to Literature on Screen Article Jan 2007 Deborah Cartmell Imelda Whelehan This Companion offers a multi-disciplinary approach to literature on film and television. Writers are drawn from different backgrounds to consider broad topics, such as the issue of adaptation from novels and plays to the screen, canonical and popular literature, fantasy, and adaptations for children. There are also case studies on, for example, Shakespeare, Jane Austen, the nineteenthcentury novel, and modernism, which allow the reader to place adaptations of the work of writers within a wider context. Beyond Fidelity The Dialogics Of Adaptation Professional Writer AndAn interview with Andrew Davies, whose adaptation work includes Pride and Prejudice (1995) and Bleak House (2005), reveals the practical choices and challenges that face the professional writer and adaptor.
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