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True to the Spirit
Film Adaptation and the Question of Fidelity
Edited by Colin MacCabe, Kathleen Murray, and Rick Warner
264 pages
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13
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235x156mm
978-0-19-537466-7
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Hardback
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17 February 2011
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This item will be ordered from OUP USA. Items ordered from OUP USA are despatched and charged as soon as we receive them, which is normally within 2 weeks
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- Features contributions from renowned scholars of film and literary studies, including Dudley Andrew, Tom Gunning, and Fredric Jameson, to name just a few
- Discusses a wide range of authors and auteurs that includes Joseph Conrad, Jeffrey Eugenides, Patrick McCabe, Orson Welles, Jean-Luc Godard, and Stanley Kubrick
- Examines adaptation in multimedia contexts beyond film and novel, including video essay, autobiography, graphic novel, and stage production
Adaptation persists as a major area of inquiry in both film and literary studies. Over the past two decades, scholars have extended the debate well beyond George Bluestone's influential Novels into Film (1957) by taking into account such concerns as intertextuality and different forms of narrative enabled through new media. A dominant trend has been to dispense straight away with questions of fidelity and "faithfulness," the assumption being that such views are naïve, moralistic, and rooted in a cultural prejudice against the audiovisual. While acknowledging the merits of this
position—namely its complication of the one-way "page-to-screen" perspective—this collection seeks to put the question of fidelity back into play. The essays explore the ways in which the newer, more sophisticated approaches can still accommodate forms of fidelity between two or more texts without having to reinscribe untenable distinctions between "original" and "copy," and without having to argue from a strict media essentialist position that stages an impasse between linguistic and cinematic means of articulation. In addition, the scholars in this volume seek to recognize and account for fidelity's cultural currency among filmmakers and audiences alike, no matter how impossible fidelity might be in a literal sense. The selected essays offer an opportunity to showcase both well
established adaptation scholars (Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and emerging voices in the field.Readership: Students in courses that deal with film and literature, film genres, and film history; scholars of film studies and literature, especially those with an interest in adaptation; readers of Film Comment, Cineaste, Screen, Adaptation, Cinema Journal, and Film Quarterly.
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Edited by Colin MacCabe, Distinguished Professor of English and Film, University of Pittsburgh, Kathleen Murray, and Rick Warner Colin MacCabe is Distinguished Professor of English and Film, University of Pittsburgh and Professor of English and Humanities at Birkbeck, University of London. He is the editor of Critical Quarterly and the author of several books, including The Butcher Boy (2007), T.S. Eliot (2006), Godard: A Portrait of the Artist at Seventy (2003), The Eloquence of the Vulgar (1998) and James Joyce and the Revolution of the Word (1978, second ed. 2002). He has produced or executive produced more than 10 feature films and more than 30 hours of
television documentaries on the history of the cinema (for the British Film Institute and Minerva Pictures).
Kathleen Murray is a doctoral candidate in the Department of English at the University of Pittsburgh. She received her M.A. in Media Studies from New School University in 2003.
Rick Warner is a doctoral candidate in the Department of English at the University of Pittsburgh. He is the author of articles on New Taiwa
Cinema, relations between "old" and "new" media, the films of Chris Marker, and the video projects of Jean-Luc Godard. Contributors:
Dudley Andrew is the R. Selden Rose Professor of Film and Comparative Literature at Yale University. His various publications include Mists of Regret: Culture and Sensibility in Classic French Film (1995) and, as co-author, Popular Front Paris and the Poetics of Culture (2005).; Tom Gunning is the Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Art History and the Chair of the Committee on Cinema and Media at the University of Chicago. He is the author of D.W. Griffith and the Origins of American
Narrative Film.; Fredric Jameson is Distinguished Professor of Comparative Literature at Duke University. He is the author of many books, including Postmodernism, Or, The Cultural Logic of Late Capitalism (1991), A Singular Modernity: Essay on the Ontology of the Present (2002), The Modernist Papers (2007), Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (2005), Valences of the Dialectic (2009) and The Hegel Variations: On the Phenomenology of Spirit (2010).; Jonathan Loucks was born and raised in Southern California. He has studied at the University of California, Berkeley (B.A. 20; Colin MacCabe is Distinguished Professor of English and Film at the University of Pittsburgh, and Professor of English and Humanities at Birkbeck College, University of London.
He is the editor of Critical Quarterly and the author of several books, including The Butcher Boy (2007), T.S. Eliot (2006), Godard: A Portrait of the Artist at Seventy (2003), The Eloquence of the Vulgar (1998) and James Joyce and the Revolution of the Word (1978, second ed. 2002). He is currently writing a book on Clint Eastwood and a history of English Literature from Shakespeare to the present.; Stephanie McKnight earned her Master's degree in English Literature with a Certificate in Film Studies from the University of Pittsburgh. She focuses on representations of gender and sexuality in Hollywood film and popular culture. Her master's thesis, "Reverence and Annihilation: Motherhood in the Reagan-era Maternal Melodrama," addresses the social conservatism and maternal essentialism
espoused in Reagan-era popular film melodrama.; Laura Mulvey is Professor of Film and Media Studies at Birbeck, University of London, and the author of Death 24x a Second: Stillness and the Moving Image (2006), Fetishism and Curiosity (1996), Citizen Kane (1992) and Visual and Other Pleasures (1989).; Kathleen Murray is a doctoral candidate at the University of Pittsburgh. She received her M.A. in Media Studies from New School University in 2003. Her research and teaching interests include play and performance, adaptation studies, early narrative cinema, feminism and film, televisual studies and genre. Currently working on her dissertation, "Overlooking the Evidence: Modalities of the Female Detective," she is exploring the intersections of gender, genre and narrative structures through
the history of cinema and television as they circle around the recurring figure of the investigating woman.; James Naremore is Emeritus Chancellor's Professor of Communication and Culture and English at Indiana University. He is the author of a number of books, including On Kubrick (2007), More than Night: Film Noir in its Contexts (1998, updated and expanded ed. 2008) and Acting in the Cinema (1993).; Alison Patterson is a doctoral candidate at the University of Pittsburgh. She received an M.A. in Cinema Studies from Tisch School of the Arts New York University and anticipates her PhD in English from Pittsburgh in 2010 under the direction of Marcia Landy. Her dissertation engages with literary and visual studies senses of the terms "decoration" and "description" to illuminate certain
cinematographic tendencies in a subset of history films.; Shelagh Patterson is a doctoral candidate at the University of Pittsburgh, where she studies literary collaboration, feminism, and the black radical imagination. A Cave Canem Fellow, she holds an MFA in Creative Writing, Poetry, and a BA in Comparative Literature from CUNY Hunter College.; Rick Warner is a doctoral candidate at the University of Pittsburgh. He is the author of articles on New Taiwan Cinema, relations between "old" and "new" media, the films of Chris Marker, and the video projects of Jean-Luc Godard. He is guest editor of the Critical Quarterly special issue "The Late Work of Jean-Luc Godard" (October 2009). His dissertation examines cinematic uses of the essay form.; Jarrell D. Wright is a doctoral candidate at the
University of Pittsburgh, where his principal research interests are seventeenth-century devotional poetry and theories of play. He earned a B.A. in government with high honors from The College of William and Mary in 1989, and a J.D. from the same institution in 1992. His contribution to this volume reflects a long-time interest in the works of Stanley Kubrick and Stephen King, and particularly The Shining.
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Preface
Introduction:
Bazinian Adaptation: The Butcher Boy as Example
Colin MacCabe
1.: The Economies of Adaptation
Dudley Andrew
2.: Literary Appropriation and Translation in Early Cinema: Adapting Gerhardt
Hauptmann's Atlantis in 1913
Tom Gunning
3.: Hearts of Darkness: Joseph Conrad and Orson Welles
James Naremore
4.: Max Ophuls's Auteurist Adaptations
Laura Mulvey
5.: To Have and Have Not: An Adaptive System
Kathleen Murray
6.: Happier with Dreams: Constructing the Lisbon Girls through Nondiegetic Sound in
The Virgin Suicides
Stephanie McKnight
7.: Universalizing a Nation and the Adaptation of Trainspotting
Shelagh Patterson
8.: Getting Away with Homage: The Alternative Universes of Ghost World
Jonathan Loucks
9.: Indexing an Icon: T.E. Lawrence's Seven Pillars of Wisdom and David Lean's
Lawrence of Arabia
Alison Patterson
10.: Shades of Horror: Fidelity and Genre in Stanley Kubrick's The Shining
Jarrell D. Wright
11.: Contempt Revisited: Godard at the Margins of Adaptation
Rick Warner
Afterword:
Adaptation as a Philosophical Problem
Fredric Jameson
Notes on Contributors
Index
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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