By Deborah Cartmell
This can be a accomplished number of unique essays that discover the aesthetics, economics, and mechanics of motion picture variation, from the times of silent cinema to modern franchise phenomena. that includes more than a few theoretical techniques, and chapters at the old, ideological and fiscal points of model, the quantity displays today’s attractiveness of intertextuality as a necessary and revolutionary cultural strength.
- Incorporates new learn in edition reports
- Features a bankruptcy at the Harry Potter franchise, in addition to different modern views
- Showcases paintings by way of prime Shakespeare version students
- Explores interesting themes comparable to ‘unfilmable’ texts
- Includes special concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
Chapter 1 Literary model within the Silent period (pages 15–32): Judith Buchanan
Chapter 2 Writing at the Silent display (pages 33–51): Gregory Robinson
Chapter three model and Modernism (pages 52–69): Richard J. Hand
Chapter four Sound model (pages 70–83): Deborah Cartmell
Chapter five variation and Intertextuality, or, What isn't really an model, and What does it topic? (pages 85–104): Thomas Leitch
Chapter 6 movie Authorship and version (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 display (pages 241–255): Lisa Hopkins
Chapter 14 Austen and Sterne: past background (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 videos (pages 312–329): Ian Inglis
Chapter 18 Rambo on web page and display (pages 330–341): Jeremy Strong
Chapter 19 Writing for the flicks (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 standpoint (pages 408–415): Diane Lake
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Extra info for A Companion to Literature, Film, and Adaptation
From the provocative casting of Theda Bara in Romeo and Juliet (1916) to the delicious eeriness of Hitchcock’s The Lodger (1926); from the brilliantly executed actor doubling and touching introspection of Fox’s A Tale of Two Cities (1917) to the entertaining excess of Cecil B. DeMille’s The Ten Commandments (1923); from the comically nuanced performance of Asta Nielsen in Hamlet (1920) to the uncompromising spectacle of MGM’s Ben Hur (1925); from the dramatic ambition of Pastrone’s Cabiria (1914) to the dreamy extravagance of Douglas Fairbanks’ The Thief of Bagdad (1924); from the titillating spirituality of Blanche Sweet in D.
Historian and former title writer Terry Ramsaye notes that, around 1910, every 1,000-foot reel of ﬁlm averaged about 80 feet of intertitle, or 8%. Many of these intertitles were made to be reused in multiple ﬁlms and “included all such vital expressions as, ‘The next day,’ ‘Ten years elapse,’ ‘Happy ever afterward,’ ‘Forgiven,’ ‘Wedding bells,’ and ‘One hour later’ ” (Stempel, 2000: 36).
One of those supplementary “sources of information” upon which audiences could sometimes rely in order to make sense of ﬁlms was the presence of a live ﬁlm lecturer in the exhibition venue. Where present, it was the lecturer’s job to explain and enliven the moving pictures by means of a running commentary (see Altman, 2004: 133–55). The “craze” (Musser, 1990a: 264) for employing a “narrator,” “lecturer,” or “explainer” in those picture house venues that could afford such a thing was at its height between 1907 and 1912 – that is, as story ﬁlms were getting longer (twoand then three-reelers) and more complicated, but not necessarily yet always autonomously intelligible.
A Companion to Literature, Film, and Adaptation by Deborah Cartmell