Martine Beugnet is Reader in Film Studies at the University of Edinburgh, UK. She is the author of Marginalité, sexualité, contrôle: cinéma français contemporain (2000) and Claire Denis (2004), as well as numerous articles on contemporary French cinema. Marion Schmid is Senior Lecturer in French at the University of Edinburgh, UK. A specialist on Proust, she is the author of Processes of Literary Creation: Flaubert and Proust (1998) and of numerous articles and essays on European nineteenth- and twentieth-century literature and culture.

• Contents: Introduction; Proust and the cinema; Cinema as grand narrative: Visconti’s and Losey’s planned adaptations of A la recherche du temps perdu; Love demystified: Volker Schlöndorff’s Un Amour de Swann; Surrealist Proust: Raoul Ruiz’s Le Temps retrouvé; Filming obsession: Chantal Akerman’s La Captive; Beyond adaptation: Fabio Carpi’s Quartetto Basileus and Le Intermittenze del cuore; The modernist legacy; Conclusion; Filmography and bibliography; Index.

'...[the authors'] analysis is both impressive and helpful. Anyone interested in Proust or in cinema adaptation will benefit from reading it.' Times Literary Supplement '... lucid and stimulating... Adopting a genuinely multi-disciplinary approach, it represents the first systematic exploration of this topic and consists of a series of self-contained but interconnecting chapters... the book's breadth of allusion and depth of analysis make it both rewarding and enjoyable to read. It should be of interest not only to specialists in Proust and Film Studies but also to undergraduates, especially if it is read selectively (as the authors explicitly encourage us to do).' Modern Language Review ’... most compelling... Beugnet and Schmid find a good balance in their multi-disciplinary approach, engaging intelligently with Proust's work and cinema while keeping their work accessible to newcomers... a fascinating discovery for Proustians and cinephiles alike... The excellent filmography and bibliography, however, will be very useful to researchers inspired to continue Beugnet and Schmid's worthwhile endeavor.’ H-France Review

Martine Beugnet is Reader in Film Studies at the University of Edinburgh, UK. She is the author of Marginalité, sexualité, contrôle: cinéma français contemporain (2000) and Claire Denis (2004), as well as numerous articles on contemporary French cinema. Marion Schmid is Senior Lecturer in French at the University of Edinburgh, UK. A specialist on Proust, she is the author of Processes of Literary Creation: Flaubert and Proust (1998) and of numerous articles and essays on European nineteenth- and twentieth-century literature and culture.

• Contents: Introduction; Proust and the cinema; Cinema as grand narrative: Visconti’s and Losey’s planned adaptations of A la recherche du temps perdu; Love demystified: Volker Schlöndorff’s Un Amour de Swann; Surrealist Proust: Raoul Ruiz’s Le Temps retrouvé; Filming obsession: Chantal Akerman’s La Captive; Beyond adaptation: Fabio Carpi’s Quartetto Basileus and Le Intermittenze del cuore; The modernist legacy; Conclusion; Filmography and bibliography; Index.

'...[the authors'] analysis is both impressive and helpful. Anyone interested in Proust or in cinema adaptation will benefit from reading it.' Times Literary Supplement '... lucid and stimulating... Adopting a genuinely multi-disciplinary approach, it represents the first systematic exploration of this topic and consists of a series of self-contained but interconnecting chapters... the book's breadth of allusion and depth of analysis make it both rewarding and enjoyable to read. It should be of interest not only to specialists in Proust and Film Studies but also to undergraduates, especially if it is read selectively (as the authors explicitly encourage us to do).' Modern Language Review ’... most compelling... Beugnet and Schmid find a good balance in their multi-disciplinary approach, engaging intelligently with Proust's work and cinema while keeping their work accessible to newcomers... a fascinating discovery for Proustians and cinephiles alike... The excellent filmography and bibliography, however, will be very useful to researchers inspired to continue Beugnet and Schmid's worthwhile endeavor.’ H-France Review

Martine Beugnet is Reader in Film Studies at the University of Edinburgh, UK. She is the author of Marginalité, sexualité, contrôle: cinéma français contemporain (2000) and Claire Denis (2004), as well as numerous articles on contemporary French cinema. Marion Schmid is Senior Lecturer in French at the University of Edinburgh, UK. A specialist on Proust, she is the author of Processes of Literary Creation: Flaubert and Proust (1998) and of numerous articles and essays on European nineteenth- and twentieth-century literature and culture.

• Contents: Introduction; Proust and the cinema; Cinema as grand narrative: Visconti’s and Losey’s planned adaptations of A la recherche du temps perdu; Love demystified: Volker Schlöndorff’s Un Amour de Swann; Surrealist Proust: Raoul Ruiz’s Le Temps retrouvé; Filming obsession: Chantal Akerman’s La Captive; Beyond adaptation: Fabio Carpi’s Quartetto Basileus and Le Intermittenze del cuore; The modernist legacy; Conclusion; Filmography and bibliography; Index.

'...[the authors'] analysis is both impressive and helpful. Anyone interested in Proust or in cinema adaptation will benefit from reading it.' Times Literary Supplement '... lucid and stimulating... Adopting a genuinely multi-disciplinary approach, it represents the first systematic exploration of this topic and consists of a series of self-contained but interconnecting chapters... the book's breadth of allusion and depth of analysis make it both rewarding and enjoyable to read. It should be of interest not only to specialists in Proust and Film Studies but also to undergraduates, especially if it is read selectively (as the authors explicitly encourage us to do).' Modern Language Review ’... most compelling... Beugnet and Schmid find a good balance in their multi-disciplinary approach, engaging intelligently with Proust's work and cinema while keeping their work accessible to newcomers... a fascinating discovery for Proustians and cinephiles alike... The excellent filmography and bibliography, however, will be very useful to researchers inspired to continue Beugnet and Schmid's worthwhile endeavor.’ H-France Review