Books in Motion

Adaptation, Intertextuality, Authorship

Series:

Editor: Mireia Aragay
Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of culture—any discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed ‘Paradoxes of Fidelity’, ‘Authors, Auteurs, Adaptation’, ‘Contexts, Intertexts, Adaptation’ and ‘Beyond Adaptation’, variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, ‘The Dead’ or Wuthering Heights, to contemporary (popular) texts/films like Bridget Jones’s Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time.

Paperback:

EUR €77.00USD $96.00

Table of contents

List of Illustrations Acknowledgements Introduction Mireia ARAGAY: Reflection to Refraction: Adaptation Studies Then and Now Paradoxes of Fidelity Deborah CARTMELL and Imelda WHELEHAN: Harry Porter and the Fidelity Debate Sara MARTÍN: What does Heathcliff Look Like? Performance in Peter Kosminsky’s Version of Emily Brontë’s Wuthering Heights John STYLE: Dirk Bogarde’s Sidney Carton–More Faithful to the Character than Dickens Himself? Author, Auteurs, Adaptation Karen DIEHL: Once Upon an Adaptation: Traces of the Authorial on Film Thomas LEITCH: The Adapter as Auteur: Hitchcock, Kubrick, Disney Margaret MCCARTHY: Adaptation and Autobiographical Auteurism: A Look at Filmmaker/Writer Doris Dörrie Contexts, Intertexts, Adaptation Manuel Barbeito VARELA: John Huston’s vs. James Joyce’s The Dead Lindiwe DOVEY: Politicising Adaptation: Re-historicising South African Literature through Fools José Ángel García LANDA: Adaptation, Appropriation, Retroaction: Symbolic Interaction with Henry V Mireia ARAGAY and Gemma LÓPEZ: Inf(l)ecting Pride and Prejudice: Dialogism, Intertextuality, and Adaptation Beyond Adaptation Pedro Javier Pardo GARCÍA: Beyond Adaptation: Frankenstein’s Postmodern Progeny Celestino DELEYTO: Me, Me, Me: Film Narrators and the Crisis of Identity Belén VIDAL: Playing in a Minor Key: The Literary Past through the Feminist Imagination Notes and Contributors

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