Authorship in Film Adaptation / / ed. by Jack Boozer.
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 scre...
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Place / Publishing House: | Austin : : University of Texas Press, , [2021] ©2008 |
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Authorship in Film Adaptation / ed. by Jack Boozer. Austin : University of Texas Press, [2021] ©2008 1 online resource (353 p.) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION -- PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT -- 1 MILDRED PIERCE A Troublesome Property to Script -- 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation -- 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999) -- PART II SCREENPLAY ADAPTED AND DIRECTED BY -- 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress -- 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter -- PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES -- 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film -- 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman -- 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION -- PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS -- 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics -- 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary -- 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay -- NOTES ON CONTRIBUTORS -- NAME AND TITLE INDEX restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star 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. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022) Film adaptations. Motion picture authorship. PERFORMING ARTS / General. bisacsh Acevedo-Muñoz, Ernesto R., contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Bell-Metereau, Rebecca, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Berrettini, Mark L., contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Boozer, Jack, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Boozer, Jack, editor. edt http://id.loc.gov/vocabulary/relators/edt Cobb, Shelley, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb LaValley, Albert J., contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Leitch, Thomas, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Lucia, Cynthia, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Palmer, R. Barton, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Roth, Elaine, contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Tomasulo, Frank P., contributor. ctb https://id.loc.gov/vocabulary/relators/ctb Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 9783110745344 https://doi.org/10.7560/702851 https://www.degruyter.com/isbn/9780292794016 Cover https://www.degruyter.com/document/cover/isbn/9780292794016/original |
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Acevedo-Muñoz, Ernesto R., Acevedo-Muñoz, Ernesto R., Bell-Metereau, Rebecca, Bell-Metereau, Rebecca, Berrettini, Mark L., Berrettini, Mark L., Boozer, Jack, Boozer, Jack, Boozer, Jack, Boozer, Jack, Cobb, Shelley, Cobb, Shelley, LaValley, Albert J., LaValley, Albert J., Leitch, Thomas, Leitch, Thomas, Lucia, Cynthia, Lucia, Cynthia, Palmer, R. Barton, Palmer, R. Barton, Roth, Elaine, Roth, Elaine, Tomasulo, Frank P., Tomasulo, Frank P., |
author_facet |
Acevedo-Muñoz, Ernesto R., Acevedo-Muñoz, Ernesto R., Bell-Metereau, Rebecca, Bell-Metereau, Rebecca, Berrettini, Mark L., Berrettini, Mark L., Boozer, Jack, Boozer, Jack, Boozer, Jack, Boozer, Jack, Cobb, Shelley, Cobb, Shelley, LaValley, Albert J., LaValley, Albert J., Leitch, Thomas, Leitch, Thomas, Lucia, Cynthia, Lucia, Cynthia, Palmer, R. Barton, Palmer, R. Barton, Roth, Elaine, Roth, Elaine, Tomasulo, Frank P., Tomasulo, Frank P., |
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Acevedo-Muñoz, Ernesto R., |
title |
Authorship in Film Adaptation / |
spellingShingle |
Authorship in Film Adaptation / Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION -- PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT -- 1 MILDRED PIERCE A Troublesome Property to Script -- 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation -- 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999) -- PART II SCREENPLAY ADAPTED AND DIRECTED BY -- 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress -- 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter -- PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES -- 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film -- 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman -- 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION -- PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS -- 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics -- 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary -- 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay -- NOTES ON CONTRIBUTORS -- NAME AND TITLE INDEX |
title_full |
Authorship in Film Adaptation / ed. by Jack Boozer. |
title_fullStr |
Authorship in Film Adaptation / ed. by Jack Boozer. |
title_full_unstemmed |
Authorship in Film Adaptation / ed. by Jack Boozer. |
title_auth |
Authorship in Film Adaptation / |
title_alt |
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION -- PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT -- 1 MILDRED PIERCE A Troublesome Property to Script -- 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation -- 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999) -- PART II SCREENPLAY ADAPTED AND DIRECTED BY -- 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress -- 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter -- PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES -- 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film -- 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman -- 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION -- PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS -- 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics -- 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary -- 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay -- NOTES ON CONTRIBUTORS -- NAME AND TITLE INDEX |
title_new |
Authorship in Film Adaptation / |
title_sort |
authorship in film adaptation / |
publisher |
University of Texas Press, |
publishDate |
2021 |
physical |
1 online resource (353 p.) |
contents |
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION -- PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT -- 1 MILDRED PIERCE A Troublesome Property to Script -- 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation -- 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999) -- PART II SCREENPLAY ADAPTED AND DIRECTED BY -- 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress -- 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter -- PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES -- 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film -- 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman -- 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION -- PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS -- 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics -- 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary -- 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay -- NOTES ON CONTRIBUTORS -- NAME AND TITLE INDEX |
isbn |
9780292794016 9783110745344 |
url |
https://doi.org/10.7560/702851 https://www.degruyter.com/isbn/9780292794016 https://www.degruyter.com/document/cover/isbn/9780292794016/original |
illustrated |
Not Illustrated |
dewey-hundreds |
800 - Literature |
dewey-tens |
800 - Literature, rhetoric & criticism |
dewey-ones |
808 - Rhetoric & collections of literature |
dewey-full |
808.2/3 |
dewey-sort |
3808.2 13 |
dewey-raw |
808.2/3 |
dewey-search |
808.2/3 |
doi_str_mv |
10.7560/702851 |
oclc_num |
1280944980 |
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ids_txt_mv |
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hierarchy_parent_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
is_hierarchy_title |
Authorship in Film Adaptation / |
container_title |
Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013 |
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