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Douglas Morrey and Alison Smith

as the sources chosen bring with them some unusually cumbersome cultural baggage. Suzanne Simonin, la Religieuse de Denis Diderot (1966) is an apparently straightforward adaptation of Diderot’s classic eighteenth-century novel that is a staple of French literature courses, but whose anti-clericalism was still powerful enough to provoke a scandal on the occasion of Rivette’s film treatment. Hurlevent (1985) adapts Emily

in Jacques Rivette
An introduction
Richard J. Hand and Jay McRoy

The history of horror film is full of adaptations that draw upon fiction or folklore, or have assumed the shape of remakes of preexisting films. From its earliest days, horror film has turned to examples of the horror genre in fiction (such as the Victorian Gothic) or legend (as diverse as classical mythology, biblical stories or the ‘The Golem’ from Yiddish folklore) for source

in Monstrous adaptations
Catherine Constable

2 Adapting philosophy/ philosophy as adaptation T he first chapter explored the ways in which philosophical writing on The Matrix Trilogy used categories drawn from adaptation theory, particularly the criterion of fidelity to the original text. This chapter will begin with a brief survey of the philosophical models that inform adaptation theory, focusing on variants of the word/image dichotomy in which the ‘perceptual’ nature of the filmic image renders it necessarily incapable of the complex symbolisation and conceptual abstraction of language. This will be

in Adapting philosophy
Homer B. Pettey

12 Elle (2016), rape, and adaptation Homer B. Pettey While the primary subject of Paul Verhoeven’s Elle (2016) remains an examination of rape, the film places rape within a dark satire of contemporary French bourgeois life: the technological usurpation of emotions and sexuality; the uncertain future of a new generation of slacker male children; the shallowness of casual marital infidelity; and even the comically violent frustrations over the lack of parking in Paris. Elle especially addresses rape in contrast to a current culture of unquestioned feminist

in French literature on screen
Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

Richard J. Hand

Throughout this study we have seen that the adaptation of fiction has been a central process in radio drama since the very beginning of the form. Adaptation has been at the heart of the most popular broadcasts on British radio: for example, the radio ‘institution’ BBC’s Woman’s Hour (1946 onwards) has, for many years, featured a fifteen-minute dose of drama in each

in Listen in terror
Hyangjin Lee

North Korea: Yu Wŏnjun and Yun Ryonggyu’s The Tale of Ch’unhyang (1980) and Shin Sangok’s musical, Love, Love, My Love (1985). Although using the same story, these films interpret the morals of the well-known narrative differently, and their differences are most lucidly discernible in their treatments of the issues related to gender and class. The film adaptations of Ch’unhyangjŏn divulge the

in Contemporary Korean cinema
Black Feet in the Snow (BBC, 1974)
Sally Shaw

Power movement, its visceral depiction of racial discrimination and its critique of Britain’s colonial past. However, the stage play’s radicalism also extended to its form—an innovative mix of Caribbean orature and Brechtian elements. Two years after its first stage performance, Black Feet in the Snow was filmed for BBC2’s Open Door community strand in 1974. The television adaptation was unusual

in Screen plays
Michael Eberle-Sinatra

Movies speak mainly to the eyes. Though they started talking in words some seventy years ago, what they say to our ears seldom overpowers or even matches the impact of what they show us. This essay proposes to read one more time the issue of homosexuality in Mary Shelley‘s first novel, Frankenstein. In order to offer a new angle on the homosexual component of Victor Frankenstein‘s relationship with his creature when next teaching this most canonical Romantic novel, this essay considers Shelley‘s work alongside four film adaptations: James Whale‘s 1931 Frankenstein, Whale‘s 1935 The Bride of Frankenstein, Richard O’Briens 1975 The Rocky Horror Picture Show, and Kenneth Branagh‘s 1994 Mary Shelley‘s Frankenstein. These films present their audience with original readings of their source material, readings that can be questioned with regards to their lack of truthfulness to the original works themes and characters.

Gothic Studies
Tom Ryall

Post-war films 2 – adaptation and the theatre 6 The British cinema in the post-war period was not overly dependent upon the theatre for its source material. One writer has estimated that ‘of the 1,033 British films of the 1950s listed in David Quinlan’s British Sound Films, some 152 were based on stage plays’.1 On an annual basis the figure never fell below 10 per cent of the annual production output; in some years it reached more than 20 per cent, as in 1948 when there were nineteen stage-originated features out of seventy-four films, and in 1952 when the

in Anthony Asquith