ADAPTATION AS AN INTERTEXTUAL MODE OF PRACTICE: British Nineteenth-Century Literature and the Hollywood Studio Era Penny Chalk BA (Hons), MA This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth April 2018 1 DECLARATION While registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in the thesis are the work of the named candidate and have not been submitted for any other academic award. Signed……………………………………… Date…………………………………… Total word count 71,051 i ABSTRACT This thesis is an interdisciplinary study of adaptations produced in the Hollywood studio era, focussing on British nineteenth-century literature adapted between the years 1930 to 1949. Based on the critical fields of adaptation criticism and historical scholarship of film, it emphasizes adaptations in relation to production practices, examining how and why a range of British literary texts were adapted in this era. The study uses a specially-created dataset collected from the American Film Institute Catalog of Motion Pictures, and archival evidence from the Margaret Herrick library, New York Public Library and British Film Institute. The introductory chapter provides an overview of the period, considering the impact of economic constraints, censorship, and war. This chapter argues that adaptations were an integral part of the industry in this period, driving innovation and production trends. Following this overview of the period, five case studies are presented in order to consider the diverse range of strategies employed in the adaptation of literary texts. These focus on the screenwriting process of Universal’s Frankenstein (Whale, 1931), the production design of MGM’s David Copperfield (Cukor, 1935), the impact of censorship on two adaptations of Dr Jekyll and Mr Hyde (Stevenson, 1897?), Sherlock Holmes’ iconography, and the direction of Twentieth-Century Fox’s production of Jane Eyre (Stevenson, 1943). These chapters consider the complexity and diversity of adaptation practices as they met with different studio house styles and production trends. Throughout this thesis, adaptation is investigated as an intertextual mode of practice. Each case study reveals how filmmakers drew on a range of non-literary sources, such as illustration, theatrical productions and radio to inform their creative processes. Following an appeal for a broader engagement of industry practices to form part of the discussion on adaptation processes, this thesis will argue that an understanding of the literary text’s prior relationship with more popular forms of culture is a necessary component to the study of adaptation. Furthermore, it will create a space for reconsidering Hollywood’s relationship to other cultural forms. ii ACKNOWLEDGMENTS I am indebted to my PhD supervisors for the completion of this thesis: Dr Christine Etherington-Wright, Professor Justin Smith, Dr Laurel Forster and Dr Esther Sonnet. Their support and guidance over the course of this work was crucial, I am forever thankful. The staff at the University of Portsmouth have also offered much in the way of moral support, and I would especially like to thank the CCI Faculty Office. My colleagues there celebrated all the little milestones and triumphs, and offered emotional support when I struggled. I would also like to thank the various libraries I visited for allowing me access to their archives. Those at the Margaret Herrick Library were especially helpful, as were the librarians at the Lincoln Centre of Performing Arts. A special mention is due to Michael at the Conan Doyle archive in Portsmouth who was incredibly accommodating and lovely to talk to. Finally, I’d like to thank my friends and family; to Sue, you were there from the beginning and walks with you, Basil, and Ted gave me the required dose of fresh air and fresh ideas; and to my partner Sam, you kept me sane (just about), and were unwaveringly patient. Thank you. iii DISSEMINATION Presentations ‘Textual Evolution: Adapting Sherlock Holmes 1899-1942,’ University of Portsmouth Postgraduate Conference, Portsmouth, UK (October 2014). ‘Adapting Sherlock Holmes for the Screen,’ Chichester Cinema public lecture, Chichester, UK (July 2015). ‘Animating Phiz: An examination of the use of Victorian Illustration in MGM’s David Copperfield (1934),’ Association of Adaptation Studies, Oxford, UK (September 2016). ‘Gothic Transmutation: How Frankenstein was made of many parts,’ British Association of Film Television and Screen Studies, Bristol, UK (May 2017). Publications Chalk, Penny. “Edgar Dale’s Film Appreciation Program: An Early Education in Adaptation.” Historical Journal of Film, Radio and Television. Published electronically December 13, 2017. doi: 1080/01439685. iv CONTENTS DECLARATION .................................................................................................................. i ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................ iii DISSEMINATION ............................................................................................................. iv CONTENTS ......................................................................................................................... v LIST OF TABLES ............................................................................................................. ix LIST OF FIGURES ........................................................................................................... ix INTRODUCTION ............................................................................................................... 1 Existing Scholarship on Film History, 1930-1949 ................................................................ 4 Adaptation Criticism ............................................................................................................ 14 Adaptation Criticism; New Directions................................................................................. 18 Cross-Media Critiques ......................................................................................................... 19 APPROACHES, ARCHIVES AND STRUCTURE ....................................................... 30 Structure ............................................................................................................................... 37 Case Studies ......................................................................................................................... 40 CHAPTER ONE: .............................................................................................................. 48 Survey of the Hollywood Studio System and Adaptation from 1930-1949 .................. 48 Pre-Code Hollywood and the adaptation of Gothic Literature ............................................ 50 Adaptations as star vehicles ................................................................................................. 55 v Prestige Pictures and Classic Literature ............................................................................... 60 War and the development of an adaptation franchise .......................................................... 69 CHAPTER TWO: ............................................................................................................. 80 Gothic Transmutation: How Universal’s Frankenstein was made of many parts ...... 80 Stage Adaptations ................................................................................................................ 82 Peggy Webling’s Frankenstein: An Adventure in the Macabre (1927) ............................... 86 Universal’s acquisition of Frankenstein .............................................................................. 90 Robert Florey’s Frankenstein (23 May 1931) ..................................................................... 95 James Whale’s Frankenstein (1931) .................................................................................. 101 CHAPTER THREE: ....................................................................................................... 111 Animating Phiz: Victorian illustration in MGM’s David Copperfield (1935) ............ 111 Art Direction at MGM ....................................................................................................... 114 David Copperfield Pre Production ..................................................................................... 122 Our Pew at Church ............................................................................................................ 125 Casting and Costuming Mr Micawber ............................................................................... 127 The Critical Reception of David Copperfield .................................................................... 132 CHAPTER FOUR: .......................................................................................................... 139 Sadism and Censorship in the Adaptations of Dr Jekyll and Mr Hyde (1886) ........... 139 Early adaptations and technical innovation ....................................................................... 142 Pre-Code Dr Jekyll and Mr Hyde (1931) ........................................................................... 145 vi MGM’s Dr Jekyll and Mr