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Abstract only
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
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.

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
Bernadette Connaughton

5306ST New Patterns-C/lb.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 411 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 211 3/9/09 16:45 Page 53 4 Political institutions and administrative adaptation Bernadette Connaughton Introduction Ireland is regarded as one of the most centralised liberal democracies (Lijphart, 1999). Its unitary political system is characterised by a strong central executive with subordinate local authorities answerable to and financially dependent on the centre. In 1922 the new state absorbed rather than transformed the

in Europeanisation and new patterns of governance in Ireland
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
Tattooing, primitivism, class and criminality
Matt Oches

context of the mutiny. Here, Bligh’s account also connects the ideas of primitivist idealisation, degeneration and criminology. Opposing narratives, primarily from Fletcher Christian’s brother, consider a more noble form of primitivism whereby Christian’s tattoos reveal a class-kinship with the social hierarchy in Tahiti. I expose the role of the tattoos in this process of criminological blame and consider the construction of primitivist idealisation in Bligh and Christian’s narratives. Their opposing viewpoints are represented in the variety of adaptations of the event

in Tattoos in crime and detective narratives
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

of ‘all kinds of [perceived] political monstrosity’ (Armitage 224). And we can add adaptation theory to the metaphoric cultural possibilities of the Frankenstein trope. This chapter argues for the productivity of what I call a Frankensteinian model for adaptation studies, which attempts to systematically trace and account for the work of intertextuality in the act of adaptation. The Frankensteinian model, or ‘Not things learned so much as things remembered’ In imagining Frankenstein as a model for adaptation, we

in Adapting Frankenstein
Kate Newell

M ARY S HELLEY ’ S F RANKENSTEIN (1818) occupies a rare position in our cultural memory: most of us ‘know’ it regardless of whether or not we have read it. This circumstance owes much to James Whale’s 1931 film adaptation, which is often credited with establishing the definitive visual lexicon for Frankenstein . 1 Of course, Whale’s is not the first visual adaption of the novel. Prior to 1931, Shelley’s novel was adapted numerous times for the stage – e.g., Richard Brinsley Peake’s Presumption (1823) and

in Adapting Frankenstein