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<p>List of Contributors viii</p> <p>Acknowledgments xi</p> <p>Foreword: Kamilla Elliott xii</p> <p>100 Years of Adaptations, or, Adaptation as the Art Form of Democracy 1<br /> <i>Deborah Cartmell</i></p> <p><b>Part I History and Contexts: From Image to Sound 15</b></p> <p>1 Literary Adaptation in the Silent Era 17<br /> <i>Judith Buchanan</i></p> <p>2 Writing on the Silent Screen 33<br /> <i>Gregory Robinson</i></p> <p>3 Adaptation and Modernism 52<br /> <i>Richard J. Hand</i></p> <p>4 Sound Adaptation: Sam Taylor’s The Taming of the Shrew 70<br /> <i>Deborah Cartmell</i></p> <p><b>Part II Approaches 85</b></p> <p>5 Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter? 87<br /> <i>Thomas Leitch</i></p> <p>6 Film Authorship and Adaptation 105<br /> <i>Shelley Cobb</i></p> <p>7 The Business of Adaptation: Reading the Market 122<br /> <i>Simone Murray</i></p> <p><b>Part III Genre: Film, Television 141</b></p> <p>8 Adapting the X-Men: Comic-Book Narratives in Film Franchises 143<br /> <i>Martin Zeller-Jacques</i></p> <p>9 The Classic Novel on British Television 159<br /> <i>Richard Butt</i></p> <p><b>Part IV Authors and Periods 177</b></p> <p>10 Screened Writers 179<br /> <i>Kamilla Elliott</i></p> <p>11 Murdering <i>Othello </i>198<br /> <i>Douglas M. Lanier</i></p> <p>12 <i>Hamlet</i>’s Hauntographology: Film Philology, Facsimiles, and Textual Faux-rensics 216<br /> <i>Richard Burt</i></p> <p>13 Shakespeare to Austen on Screen 241<br /> <i>Lisa Hopkins</i></p> <p>14 Austen and Sterne: Beyond Heritage 256<br /> <i>Ariane Hudelet</i></p> <p>15 Neo-Victorian Adaptations 272<br /> <i>Imelda Whelehan</i></p> <p><b>Part V Beyond Authors and Canonical Texts 293</b></p> <p>16 Costume and Adaptation 295<br /> <i>Pamela Church Gibson and Tamar Jeffers McDonald</i></p> <p>17 Music into Movies: The Film of the Song 312<br /> <i>Ian Inglis</i></p> <p>18 Rambo on Page and Screen 330<br /> <i>Jeremy Strong</i></p> <p><b>Part VI Case Studies: Adaptable and Unadaptable Texts 343</b></p> <p>19 Writing for the Movies: Writing and Screening <i>Atonement </i>(2007) 345<br /> <i>Yvonne Griggs</i></p> <p>20 Foregrounding the Media: <i>Atonement </i>(2007) as an Adaptation 359<br /> <i>Christine Geraghty</i></p> <p>21 Paratextual Adaptation: <i>Heart of Darkness </i>as <i>Hearts of Darkness </i>via <i>Apocalypse Now </i>374<br /> <i>Jamie Sherry</i></p> <p>22 Authorship, Commerce, and <i>Harry Potter </i>391<br /> <i>James Russell</i></p> <p>23 Adapting the Unadaptable – The Screenwriter’s Perspective 408<br /> <i>Diane Lake</i></p> <p>Index 416</p>

<p>“Overall, the essays in this collection deal with diverse topics and theoretical concerns of adaptation studies today. They throw light on both often researched and neglected or undervalued works.”  (<i>Poetics Today</i>, 1 May 2015)</p> <p>“Well-written, suggestively arranged in a series of six sections, A Companion to  Literature, Film and Adaptation provides an invaluable resource for anyone interested in debates about the past, present and future of adaptation studies, and why the discipline represents an important advance in the field of interdisciplinary learning … Cartmell’s collection covers just about every area imaginable within adaptation studies, whether historical, theoretical or otherwise … [It] is a far cry from those collections that simply compare source with target texts; it encompasses comic-books, songs, silent cinema as well as more canonical texts and their cinematic variants. There is something for everyone in this volume.”  (<i>Post Script</i>, 2014)<br /><br /></p> <p>"Summing Up: Recommended. Upper-division undergraduates and above." (<i>Choice</i>, 1 November 2013)<br /> <br /> "<i>A Companion to Literature, Film and Adaptation</i> is open to anybody interested in learning more about the process of translating the printed page into film. Many popular productions on the big and small screen are referenced, such as <i>Anonymous</i> (2011) and <i>Emma</i> (2009), so readers do not need to know Barthes from Bazin to find the Companion both informative and accessible." (<i>Reference Reviews</i>, 27 April 2013)</p>

<p><b>Deborah Cartmell</b> is Professor of English and Director of the Centre for Adaptations at De Montfort University, UK. A former chair and founding member of the Association of Adaptation Studies, she is co-editor of two international journals – <i>Shakespeare</i> and <i>Adaptation</i>. Her recent publications include <i>Screen Adaptation: Jane Austen’s</i> Pride and Prejudice (2010) and, with Imelda Whelehan, <i>Screen Adaptation: Impure Cinema</i> (2010).</p>

<p>This companion to the symbiosis between literature and film is a comprehensive collection of original essays that explore the aesthetics and mechanics of movie adaptation from the days of silent cinema to contemporary franchise phenomena. Featuring a range of theoretical approaches and chapters on the historical, ideological, and economic aspects of adaptation, the volume reflects today’s acceptance of intertextuality as a vital and progressive cultural force. Contributors explore a range of genres, from silent-screen adaptations to pulp fiction, X-Men comic books, and key literary works, including detailed consideration of Ian McEwan’s <i>Atonement</i> and Joseph Conrad’s <i>Heart of Darkness</i>.</p>

<p>"<i>A Companion to Literature, Film and Adaptation</i> is open to anybody interested in learning more about the process of translating the printed page into film. Many popular productions on the big and small screen are referenced, such as <i>Anonymous</i> (2011) and <i>Emma</i> (2009), so readers do not need to know Barthes from Bazin to find the Companion both informative and accessible." <br /> (<i>Reference Reviews</i>, 27 April 2013)</p>

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