Authorship in Film AdaptationJack Boozer University of Texas Press, 3. juuni 2009 - 353 pages Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source. Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigates adaptations that alter stories of romance, sexuality, and ethnicity. |
Contents
1 | |
HOLLYWOODS ACTIVIST PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT | 31 |
A Troublesome Property to Script Albert J LaValley | 35 |
Authorship and Authority in Adaptation Thomas Leitch | 63 |
3 FROM TRAUMNOVELLE 1927 TO SCRIPT TO SCREEN EYES WIDE SHUT 1999 Jack Boozer | 85 |
SCREENPLAY ADAPTED AND DIRECTED BY | 107 |
Investigation and Navigation in Devil in a Blue Dress Mark L Berrettini | 111 |
Subjectivity and the Ineffable in The Sweet Hereafter Ernesto R AcevedoMuñoz | 131 |
Adapting the Doubleness of John Fowless The French Lieutenants Woman R Barton Palmer | 179 |
8 THE THREE FACES OF LOLITA OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION Rebecca BellMetereau | 203 |
Race Globalization and Family in Soderberghs Remake Mark Gallagher | 229 |
VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS | 253 |
Process and Sexual Politics Cynthia Lucia | 257 |
Generic Intertextuality and Postfeminism in Bridget Joness Diary Shelley Cobb | 281 |
12 WHOS YOUR FAVORITE INDIAN? The Politics of Representation in Sherman Alexies Short Stories and Screenplay Elaine Roth | 305 |
NOTES ON CONTRIBUTORS | 325 |
WRITER AND DIRECTOR COLLABORATIONS ADDRESSING GENRE HISTORY AND REMAKES | 157 |
From Susan Orleans The Orchid Thief to Charlie and Donald Kaufmans Screenplay to Spike Jonzes Film Frank P Tomasulo | 161 |
NAME AND TITLE INDEX | 329 |