Books in Motion: Adaptation, Intertextuality, Authorship (Contemporary Cinema 2)

290 Pages·2006·2.62 MB·English

by  Mireia Aragay

Books in Motion
Contemporary Cinema 2
Series Editors
Ernest Mathijs &
Steven Jay Schneider
Editorial Advisory Board:
Martin Barker (University of Wales-Aberystwyth)
Wanda Bershen (Founder, Red Diaper Productions)
Mark Betz (University of London, King’s College)
David Bordwell (University of Wisconsin-Madison)
Sean Cubitt (University of Waikato, New Zealand)
Roger Garcia (Former Director, Hong Kong International Film
Festival)
Joke Hermes (University of Amsterdam)
Jim Hillier (University of Reading)
Mark Jancovich (University of Nottingham)
Douglas Kellner (University of California-Los Angeles)
Soyoung Kim (Korean National University of Arts)
Amy Kronish (Consultant in Jewish & Israeli Film)
Barney Oldfield (General Manager, Angelika Entertainment)
Murray Pomerance (Ryerson University, Canada)
Michael Renov (University of Southern California)
David Schwartz (Chief Curator of Film, American Museum
of the Moving Image)
M.M. Serra (Executive Director, Film-Makers Cooperative)
J. David Slocum (New York University)
Christina Stojanova (Wilfrid Laurier University, Canada)
Kristin Thompson (University of Wisconsin-Madison)
Contemporary Cinema is a series of edited volumes and
single-authored texts focusing on the latest in film culture, theory,
reception and interpretation. There is a concentration on films
released in the past fifteen years, and the aim is to reflect important
current issues while pointing to others that to date have not been
given sufficient attention.
Books in Motion
Adaptation, Intertextuality, Authorship
Edited by
Mireia Aragay
Amsterdam - New York, NY 2005
Institutional support:
The Department of Theatre, Film and Television Studies at the
University of Wales-Aberystwyth
The paper on which this book is printed meets the requirements
of “ISO 9706:1994, Information and documentation - Paper for
documents - Requirements for permanence”.
ISBN: 90-420-1957-3
ISSN: 1572-3070
©Editions Rodopi B.V., Amsterdam - New York, NY 2005
Printed in the Netherlands
For Víctor, Tomàs and Òscar
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CONTENTS
List of Illustrations 9
Acknowledgements 10
Introduction
Reflectionto Refraction: Adaptation StudiesThen andNow 11
MireiaAragay
Paradoxes of Fidelity
Harry Potter and the Fidelity Debate 37
DeborahCartmell and Imelda Whelehan
What doesHeathcliffLookLike? Performance in Peter
Kosminsky’s VersionofEmilyBrontë’sWuthering Heights 51
Sara Martín
Dirk Bogarde’s Sidney Carton—More Faithful to the
Characterthan Dickens Himself? 69
John Style
Authors, Auteurs, Adaptation
Once Upon an Adaptation:Traces of the Authorial on Film 89
Karen Diehl
The Adapter as Auteur: Hitchcock, Kubrick, Disney 107
Thomas Leitch
Adaptation and Autobiographical Auteurism: A Look at
Filmmaker/Writer Doris Dörrie 125
MargaretMcCarthy
Contexts,Intertexts, Adaptation
John Huston’s vs.JamesJoyce’sThe Dead 145
ManuelBarbeitoVarela
Politicising Adaptation: Re-historicising South African
Literature through Fools 163
Lindiwe Dovey
Adaptation, Appropriation, Retroaction: Symbolic Interaction
withHenry V 181
JoséÁngelGarcía Landa
Inf(l)ectingPride and Prejudice:Dialogism, Intertextuality,
and Adaptation 201
MireiaAragay and Gemma López
Beyond Adaptation
Beyond Adaptation: Frankenstein’s Postmodern Progeny 223
Pedro JavierPardoGarcía
Me,Me,Me: Film Narrators and the Crisis of Identity 243
CelestinoDeleyto
Playing in a Minor Key:TheLiterary Past through the
Feminist Imagination 263
BelénVidal
Notes on Contributors 287
List of Illustrations
FIG. 1 A retroactive avatar of Henry V’s band of brothers:
Alexander the Pig foreshadows Bush’s Desert Storm
II in Oliver Stone’sAlexander the Great (2004) 196
FIG.2 Colin Firth’s ‘corpo-real’ Darcy ponders plunge into 210
pond
FIG.3 Darcy’sandCleaver’sfightparodiesromanceconven- 214
tions
FIG.4 All by myself: Bridget Jones narrates the female 250
lonelyself
FIG.5 Top five all time break-ups: Rob-narrator enlists the 255
spectator to his revenge against and later redemption
by girlfriendLaura
FIG.6 What men think women think: Rob’s behaviour 257
shocksLiz… in Rob’s fantasy
FIG. 7 Thescene of writing in MansfieldPark 273
FIG. 8 Adapting history in MansfieldPark 274
FIG. 9 Rosina’s look in The Governess 278
FIG. 10 T hescene of fantasy from The Governess 285