Paring a novel into a two-hour film is an arduous task for even the best screenwriters and directors. Often the resulting movies are far removed from the novel, sometimes to the point of being unrecognizable. Stanley Kubrick's adaptations have consistently been among the best Hollywood has to offer. Kubrick's film adaptations of three novels--Lolita, The Shining and Full Metal Jacket--are analyzed in this work. The primary focus is on the alterations in the characters and narrative structure, with additional attention to style, scope, pace, mood and meaning. Kubrick's adaptations simplify, impose a new visuality, reduce violence, and render the moral slant more conventional. Instructors considering this book for use in a course may request an examination copy here.
Adaptations have long been a mainstay of Hollywood and the television networks. Indeed, most Academy Award- and Emmy Award-winning films have been adaptations of novels, plays, or true-life stories. Linda Seger, author of two acclaimed books on scriptwriting, now offers a comprehensive handbook for screenwriters, producers, and directors who want to successfully transform fictional or factual material into film. Seger tells how to analyze source material to understand why some of it resists adaptation. She then gives practical methods for translating story, characters, themes, and style into film. A final section details essential information on how to adapt material and how to protect oneself legally.
This lively and accessible textbook, written by an expert in film studies, provides a fascinating introduction to the process and art of literature-to-film adaptations. Provides a lively, rigorous, and clearly written account of key moments in the history of the novel from Don Quixote and Robinson Crusoe up to Lolita and One Hundred Years of Solitude Includes diversity of topics and titles, such as Fielding, Nabokov, and Cervantes in adaptations by Welles, Kubrick, and the French New Wave Emphasizes both the literary texts themselves and their varied transtextual film adaptations Examines numerous literary trends – from the self-conscious novel to magic realism – before exploring the cinematic impact of the movement Reinvigorates the field of adaptation studies by examining it through the grid of contemporary theory Brings novels and film adaptations into the age of multiculturalism, postcoloniality, and the Internet by reflecting on their contemporary relevance.
This is a comprehensive survey of the relationship between film and literature. It looks at the cinematic adaptations of such literary masters as Shakespeare, Henry James, Joseph Conrad and D.H. Lawrence, and considers the contribution to the cinema made by important literary figures as Harold Pinter, James Agree and Graham Greene. Elsewhere, the book draws intriguing analogies between certain literary and film artists, such as Dickens and Chaplin, Ford and Twain, and suggests that such analogies can throw fresh light on the subjects under review. Another chapter considers the film genre of the bio-pic, the numerous cinematic attempts to render in concrete terms the complexities of the literary life, whether the writer be Proust, Joyce, Oscar Wilde, Dashiel Hammett, Agatha Christie or Boris Pasternak. Originally published in 1986, this is a book to appeal to any reader with an interest in film or literature, and is of especial value to those involved in the teaching or study of either subject.
Exploring a selection of anime adaptations of famous works of both Eastern and Western provenance, this book is concerned with appreciating their significance and appeal as independent texts. The author evaluates three aspects of anime adaptation--how anime adaptations develop their original sources in stylistic, aesthetic, and psychological terms; how specific features of the anime medium impact alchemically on the original sources to bring into being imaginative works of an autonomous nature; and which qualities render an adaptation in anime form a distinctly unique artistic creation.
'If you decide to adapt a classic or much-loved book, your working maxim should be, 'How will it work best as a film?' However faithful it is to the original, if it's not interesting onscreen then you've failed.' - William Boyd in Story and Character: Interviews with British Screenwriters Hollywood. Netflix. Amazon. BBC. Producers and audiences are hungrier than ever for stories, and a lot of those stories begin life as a book - but how exactly do you transfer a story from the page to the screen? Do adaptations use the same creative gears as original screenplays? Does a true story give a project more weight than a fictional one? Is it helpful to have the original author's input on the script? And how much pressure is the screenwriter under, knowing they won't be able to please everyone with the finished product? Alistair Owen puts all these questions and many more to some of the top names in screenwriting, including Hossein Amini (Drive), Jeremy Brock (The Last King of Scotland), Moira Buffini (Jane Eyre), Lucinda Coxon (The Danish Girl), Andrew Davies (War & Peace), Christopher Hampton (Atonement), David Hare (The Hours), Olivia Hetreed (Girl with a Pearl Earring), Nick Hornby (An Education), Deborah Moggach (Pride & Prejudice), David Nicholls (Patrick Melrose) and Sarah Phelps (And Then There Were None). Exploring fiction and nonfiction projects, contemporary and classic books, films and TV series, The Art of Screen Adaptation reveals the challenges and pleasures of reimagining stories for cinema and television, and provides a frank and fascinating masterclass with the writers who have done it - and have the awards and acclaim to show for it. ------------------------ Praise for Alistair Owen 'A fascinating, insightful collection' - Independent on Sunday on Story and Character 'Owen's thorough research and penetrating questions are what make Story and Character... the conversation is hilarious as well as informative, and budding screenwriters should pay close attention to extraordinary nuggets' - Guardian on Story and Character
First systematic theoretical study of the process in which works of literature are transformed into the medium of cinema. Draws on recent literary and cinema theory.
Although it started as a British television show with a small but devoted fan base, Doctor Who has grown in popularity and now appeals to audiences around the world. In the fifty-year history of the program, Doctor Who’s producers and scriptwriters have drawn on a dizzying array of literary sources and inspirations. Elements from Homer, classic literature, gothic horror, swashbucklers, Jacobean revenge tragedies, Orwellian dystopias, Westerns, and the novels of Agatha Christie and Evelyn Waugh have all been woven into the fabric of the series. One famous storyline from the mid-1970s was rooted in the Victoriana of authors like H. Rider Haggard and Arthur Conan Doyle, and another was a virtual remake of Anthony Hope’s The Prisoner of Zenda—with robots! In Doctor Who and the Art of Adaptation: Fifty Years of Storytelling, Marcus Harmes looks at the show’s frequent exploration of other sources to create memorable episodes. Harmes observes that adaptation in Doctor Who is not just a matter of transferring literary works to the screen, but of bringing a diversity of texts into dialogue with the established mythology of the series as well as with longstanding science fiction tropes. In this process, original stories are not just resituated, but transformed into new works. Harmes considers what this approach reveals about adaptation, television production, the art of storytelling, and the long-term success and cultural resonance enjoyed by Doctor Who. Doctor Who and the Art of Adaptation will be of interest to students of literature and television alike, and to scholars interested in adaptation studies. It will also appeal to fans of the series interested in tracing the deep cultural roots of television’s longest-running and most literate science-fiction adventure.
