Literature and Film is a superb collection of vibrant essays that chart the history and confluence of literature and film. Featuring an ambitious introductory essay tracing the theory and practice of adaptation, the volume explores in detail a wide and international spectrum of novels and adaptations. Subjects range from established classics like The Grapes of Wrath, The Last of the Mohicans, Mansfield Park, and Remembrance of Things Past, to consecrated genre works like Dracula and Cape Fear, to contemporary classics like The English Patient and Beloved. The analysis bears on individual films--such as Clockers and Like Water for Chocolate--and larger themes, like the depictions of writers in film, and orature in African cinema. Bringing together the very latest scholarship in the field, the Reader contains astute and readable essays, both theoretical and thematic, on the translation of literary into filmic texts. Almost all of the essays are originals, especially composed for this volume, and written by leading international scholars on both literature and film.
For the student or scholar, this volume provides an ideal way to become aware of the newest trends in film-literature studies, which go beyond issues of "fidelity," to explore film/literature relations in all their multi-faceted intertextuality. It can be used as a stand-alone reference source, or alongside the textbook Literature through Film: Realism, Magic, and the Art of Adaptation by Robert Stam and Literature and Film, edited by Robert Stam and Alessandra Raengo, for a complete learning package in this dynamic field. As a whole, these three volumes will be shaping the debates about adaptation for the coming decades.
"Stam and Raengo's Literature and Film offers a wonderful collection of approaches to the multifaceted and sometimes contradictory relationship between the written word and the filmic image, bringing into the discussion a refreshing series of examples drawn from international and minority cinemas."
Richard Pea, Columbia University
List of Illustrations.
Notes on Contributors.
Introductory Essay: The Theory and Practice of Adaptation: Robert Stam.
1. Improvements and Reparations at Mansfield Park: Tim Watson (Princeton University).
2. Keeping the Carcass in Motion: Adaptation and Transmutations of the National in The Last of the Mohicans: Jacquelyn Kilpatrick (California State University, Channel Islands).
3. The Discreet Charm of the Leisure Class: Terence Davies's The House of Mirth: Richard Porton (Cineaste magazine).
4. In Search of Adaptation: Proust and Film: Melissa Anderson (CUNY Graduate Center).
5. The Grapes of Wrath: Thematic Emphasis through Visual Style: Vivian C. Sobchack (UCLA).
6. Cape Fear and Trembling: Familial Dread: Kirsten Thompson (Wayne State University).
7. The Carnival of Repression: German Left Wing Politics and The Lost Honor of Katarina Blum: Alexandra Seibel (New York University).
8. Serial Time: Bluebeard in Stepford: Bliss Cua Lim (University of California, Irvine).
9. Boyz ?N the Hood Chronotope: Spike Lee, Richard Price, and the Changing Authorship of Clockers: Paula J. Massood (Brooklyn College, CUNY).
10. Defusing The English Patient: Patrick Deer (New York University).
11. Carnivals and Goldfish: History and Crisis in The Butcher Boy: Jessica Scarlata (New York University).
12. Mild Revisionism, Failed Revolts: Esquivel's and Arau's Like Water for Chocolate, A Retrospective View: Dianna C. Niebylski (University of Kentucky).
13. Beloved: The Adaptation of an American Slave Narrative: Mia Mask (New York University).
14. Oral Traditions, Literature and Cinema in Africa: Mbye Cham (Howard University).
15. Memory and History in the Politics of Adaptation: Revisiting the Partition of India in Tamas: Ranjani Mazundar (Jamia Millia Islamia).
16. The Written Scene: Writers as Figures of Cinematic Redemption: Paul Arthur (Montclair State University).