Screening Text

Shannon Wells-Lassagne is an associate professor at the Université de Bretagne Sud in Lorient, France. Ariane Hudelet is an associate professor at Université de Paris 7 and lives in Paris, France.

• Table of ContentsIntroductiondeleteShannon Wells-Lassagne and Ariane HudeletPart 1. Setting the SceneAdaptation, Sound and Shakespeare in the 1930sdeleteDeborah CartmellPostmodern Screened WritersdeleteKamilla ElliottPart 2. Adapting GenreTrue Stories: Film and the Non-Fiction NarrativedeleteKevin DwyerThe Writing of a Film Noir: Ernest Hemingway and The KillersdeleteDelphine LetortThree Filmic Avatars of The Maltese FalcondeleteGilles MenegaldoThe Aesthetic of Epic in Kenneth Branagh’s HamletdeleteSarah HatchuelPart 3. Sociocultural Concerns: Race and GenderWhite Lies, Noir Lighting, Dark OthersdeleteJoyce GogginMaking Red Black: Race and The Shawshank RedemptiondeleteDonald UlinShaft’s Political ShiftsdeleteHélène CharlerySexual Politics: The Last September, Novel and FilmdeleteShannon Wells-LassagneJane Austen Goes to Bollywood ... with a Pinch of SaltdeleteFlorence CabaretPart 4. Aesthetics of AdaptationSurface and Depth in KoreadeleteNicole CloarecThe Visible in Howards End and The Remains of thedeleteKarim ChabaniAdapting E. M. Forster’s Subversive AestheticsdeleteLaurent MelletPart 5. Remakes and ReadaptationRe-Adaptation as Part of the Myth: Orson Welles and Don Quixote’s “Outings”deleteSébastien LefaitBad Shakespeare: Adapting a TraditiondeleteCharles HoldeferReadapting “the Horror”: Versions of Conrad’s Heart of DarknessdeleteGene M. MooreThree Scarfaces: Documents, Messages and Works ofdeleteDominique SipièreConclusion: From Theory to PracticeLost in Adaptation—A Producer’s ViewdeleteRoger ShannonBibliographyAbout the ContributorsIndex