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And the Author(S) 2018 D. Thornley (Ed.), True Event Adaptation

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And the Author(S) 2018 D. Thornley (Ed.), True Event Adaptation INDEX 0–9 Accurately, 7, 19, 49, 61, 96, 116 9/11, 90, 95–97, 100–102, 105 Acquaroli, Francesco, 122 13, Rue Madeleine, 15 Acted, 177 24/7 job, 157 Acting, 116, 177 35mm flm, 56 Action, 13, 84, 94, 99, 103, 104, 166, 60 Minutes, 92 198 Action-adventure, 125 Action line, 119, 121, 123 A The Act of Killing, 126 Aaberg, Denny, 37–39 Actor(s), 36, 42, 52, 73, 82, 95, 154, Abbate, Lirio, 116, 117, 128, 131 192, 200 Abbottabad, Pakistan, 88 Actress, 74, 77, 82 ABC News, 95 Actual event, 55, 88–90, 92–93 A.C.A.B.—All Cops Are Bastards, 126 Adams, Ben, 97 Academic historians, 14, 60 Adapt, 23, 25, 58, 131, 197 Academic(s), 6, 7, 61, 73, 181 Adaptation, 3, 4, 11, 12, 34, 36, 45, Academic writing, 5 48, 51, 58, 69, 89, 111, 116, Academie des Beaux-Arts, 77 118, 119, 165, 167, 181, 190 Academy Award for Best Direction, Adaptation studies, 3, 4, 13, 17, 48, 105 62 Academy Award-winning director, 98 Adaptation Studies at a Crossroad, 62 Account, 43, 48, 57, 112, 114, 173, Adapting Cinema to History, 26 174, 177 Adaptive continuum, 54 Accountability, 10, 57, 104 Adaptive procedures, 48 Accuracy, 49, 132 Adaptive process, 48, 49, 54, 62 © The Editor(s) (if applicable) and The Author(s) 2018 207 D. Thornley (ed.), True Event Adaptation, Palgrave Studies in Adaptation and Visual Culture, https://doi.org/10.1007/978-3-319-97322-7 208 INDEX Adaptive strategies, 177 Anthropologist, 192 Adaptors, 58 Anthropology, 58 Administration, 115, 118, 121, 123 Antihero, 124, 131 Aesthetic, 34, 44, 51, 53, 197, 201 Antiphrasis, 197 Aesthetic choices, 68, 98 Anti-representation, 197 Aesthetic theory, 4, 188 Apocalypse Now, 5, 33, 44, 98 Affect, 55, 173, 177, 181, 194 Appraisal, 114 Africa, 116 Appropriate, 6, 17, 175 Aftermath, 95, 100, 165, 174, 180 Arab, 74, 84 Age, 56, 74, 119 Arabic poetry, 75 Agency, 17, 25, 54, 58, 133, 177 Arab literature, 76 Agent, 13, 15, 103, 129, 171, 172 Arab society, 68 Agent provocateur, 172 Arab world, 70, 80 Agger, Gunhild, 17 Aramoana, 9, 47, 51, 55 Alavi, Bettina, 14 Aramoana massacre, 6, 60 Alemanno, Gianni, 115 Aramoana: Twenty-Two Hours of Alhaique, Michele, 126 Terror, 47 Allegories, 200 Arc, 124 All the President’s Men, 13 Archaeology, 178 Al Qaeda, 87, 100 Archetypal characters, 169 Altenberg, Tilmann, 131 Archetypal construction, 123 Altered context, 58 Archetype, 7, 153, 181, 196 Alter ego, 126 Archival documents, 188 America, 101–102 Archival material, 9 American, 69, 74, 88, 95, 100, 111, 113 Archival research, 4, 187, 190, 197, 203 American Animals, 126 Archival work, 145 American cinema, 33 Argument, 19, 45, 58, 98, 195 American exceptionalism, 7, 88, 101, Ariete, Valentina, 129 105 Aristotle, 68 American Graffti, 35 Arranged marriage, 124 American Historical Review, 188 Art, 25, 50, 70, 170 American imperialism, 106 Artefact, 130, 171 American New Wave, 34 Arthurian saga, 41 America on Film, 16 Artist, 71, 174 Amnesia, 101, 166, 171, 174 The Art of Adaptation: Turning Fact Amnesty International, 81 and Fiction into Film, 69 Analysis, 21, 68, 114, 129, 181 Artwork history, 4, 9, 188, 195 Ancient Rome, 122 Aryan, 41 Andem, Julie (series creator), 144, 149 Asheim, Lester E., 28 Andrew, Dudley, 12 Assemblage, 167, 182 Anglo-Saxon, 174 Assertibility, 128 Animal Kingdom, 113, 126 Atonement, 124 Antecedent, 131 Atrocities, 68 INDEX 209 Audience feedback, 156 Banned, 55 Audience identifcation, 48 Banning, 55 Audience research, 149, 152 Barbed Wire and Mirrors, 62 Audience(s), 4, 7, 14–16, 36, 50, Barthes, Roland, 35 56–58, 61, 70, 82, 87, 112, 113, “Based on a true story”, 14, 15, 16, 143, 152, 192, 196 18, 27, 48, 60, 62 Audience share, 113 Based on real events, 39, 53 Audio, 90 Based on the book, 53, 62 Audio commentary, 43, 48 Basinger, Jeanine, 94, 102 Audio-visual, 149 Bason, Christian, 148 Audition outtakes, 48 Bataclan, 166, 169 Aune, Oddvin, 157 Baudrillard, Jean, 114, 128 Australia, 51 BBC, 147 Australian Goldfelds Water Pipeline Beirut, 70–73 Scheme, 9 Bell, Daniel, 101 Auteur, 4, 6, 34 Benedict XVI, 119 Auteur as brand, 44 Bergløv, Emil, 150 Auteurism, 35, 43 Berlin, Marina, 113, 116 Authentication, 89 Berlusconi, Silvio, 115, 117, 119, 121 Authenticity, 35, 39, 89, 127, 171, 172 Best director, 105 Authentic portrayal, 35, 40 Best picture, 105 Author, 3, 82, 172 Between the Lines, 44 Authored history, 197 Bias, 23, 173 Authorize, 59, 181 Bigelow, Kathryn, 6–7, 87–101, Authorship, 5, 34 103–105 Autobiographical accounts, 165 Big Other, 173 Autobiographical acts, 168, 172, 180 Big Wednesday, 5, 33–45 Autobiographical knowledge, 171 Binge-viewed, 113 Autobiographical self, 5, 36 bin Laden, Osama, 7, 87–88, 92, 106 Autobiography, 16, 33, 34, 43 Binski, Paul, 177 Biographical memory, 174 Biography, 176, 177 B Biopic(s), 126, 145 Backstage, 168, 176, 179, 180 Birk, Trine, 150 Backstory, 103, 118 Black and White, 74 Bad Blood, 49 Black box, 177 BAFTA, 105 Blackburn, Simon, 19, 133 Baillie, Russell, 54 Blackmail, 121, 123 Bakhtin, Mikhail Mikhailovich, 166, Black site, 90 167, 169–171 Blackton, J. Stuart, 99 Bal, Mieke, 61 Blockbuster, 56, 87, 89, 98, 106 Balzac, Honore, 174 Blondell, Joan, 102 Banda della Magliana, 116 Bloody Sunday, 170, 174 210 INDEX Bloomfeld, Paul, 133 Burke, Peter, 189, 204 Bloom, Leopold, 174 Busey, Gary, 34 Boal, Mark (journalist), 7, 88, 93–95, Bush, George W., 95, 102 103–105 Bushnell, William S., 15 Boardwalk Empire, 113 But Enough About Me, 167 Bocca, Riccardo, 113 Butler, Judith, 171 Bodies That Matter, 171 Body, 77–80, 98, 101, 119, 171, 176–179 C Bonini, Carlo, 7, 111, 115, 122 Cahiers du Cinema, 132 Bonzon, Roman, 133 Cairns, Ian, 36 Book, 47, 118, 145, 200 Cairo, 74–75, 77 Book of Exeter, 174 Calabria, 117 Boomerang, 15 Calhoun, Claudia, 28 Borgen, 146, 150 California, 34, 37, 39, 156 Box offce, 34, 105 Caligari, Claudio, 129 Box Offce Mojo, 98, 105 Call Northside 777, 15 Bradshaw, Peter, 125 Cambodian killing felds, 170 Brady, Leonard (journalist), 37 Camera, 40, 43, 74, 89, 100–101 Brand, 4, 5, 34, 44, 111 Cameron, Allan, 53 Branded franchises, 111 Cameron, Kenneth M., 16, 17 Brandom, Robert, 128 Campbell, Joseph, 124, 181 Bricolage, 167, 175, 182 Camp Chapman, 100, 103 Bricolaged identities, 180 Cardinal Paul Marcinkus, 132 Brief, 112, 150, 156 Carey, Peter, 51, 53 Britain’s ‘kitchen sink’ dramas, 62 Carlson, Curtis R., 148 British, 13, 21, 72 Carminati, Massimo, 116, 118, 132 Britton, Gregory, 102 Carnap, 128 Broadcast, 52, 56, 83, 106 Carr, E.H., 188, 193, 200, 202, 203 Broadcaster, 143–144, 146–147 Carroll, Christopher, 112, 113, 124, Broadcasting, 145, 147, 150, 157 129 Broadcast television, 155 Carson, Lance, 38, 39, 44 Brody, Richard, 105 Caruth, Cathy, 96 Broich, Ulrich, 14 Casamonica, 117, 118 Bronfen, Elisabeth, 179, 180 Case study, 5, 8, 20, 62, 112, 157, Browne, Bud, 36 187, 190, 193, 197, 203 Bruni, Frank, 92 Cast and crew interviews, 48 Bruschi, Chiara, 129 Casting, 154 Bruss, Elizabeth, 43 Catastrophe, 176, 180 Bruzzi, Stella, 68 Catholic organizations, 115, 132 Bryson, Julie-Ann, 52 Cattleya, 122 Budowski, Jade, 112, 125 Cattrysse, Patrick, 12, 14, 20, 25 Burgoyne, Robert, 99–101 Cause-effect, 60, 175 INDEX 211 Celebration, 41–42, 57, 99, 152, Cinematic process, 56 178–179 Cinematic storytelling, 68 Celebrities, 174 Cinematic therapy, 54 Censor, 48 Cinematic work, 68 Censorship, 48, 51 Cinematographers, 36 Cerno, Tommaso, 117 Cinematography, 51, 56, 68 Certifed Copy, 126 Circumcision, 78, 80, 82 Cesarano, Daniele, 116, 122 Circumstance, 92, 147, 176 Chandler, Kyle, 103 Civilization, 42, 122 Change Mummifed, 130 Civil War, 70, 99 Chaplin, Charles, 181 Clarke, Jason, 90 Chapman, Adam, 14, 16, 22 Classifcation, 55, 56, 62 Chappell, Timothy, 133 Cliché, 8, 80, 145, 157 Character arcs and actions, 154 Cline, Brendan, 133 Character construction, 113 Clip, 72, 149, 157 Character-creating, 157 Cloaca Maxima, 122 Character design, 154 Close Encounters of the Third Kind, 42 Character development, 154 Close-up shot, 121 Characteristics, 3, 24, 98–99, 102, 127 CNN, 37 Characterization, 44, 132, 200 CNN Library, 94 Character(s), 48, 73, 82, 88, 102, Co-creation, 182 117, 119, 123, 144, 146, 152, Co-creative occupation, 53–55 157, 153, 166, 176, 189 Cognitive, 18, 23, 181 Chastain, Jessica, 88 Colbert, Claudette, 102 Cheney, Dick, 92 Cole, Andra L., 169 Chesnaux, Jean, 12 Collaboration, 8, 53, 54, 149, 173 Choreographed, 57, 99 Collage, 72, 170 Christensen, Katrine Bouschinger, 159 Colonial experience, 58 Christianity, 177 Colonial stereotypes, 61 Chronology, 5, 9, 115, 167 Colonized, 58 Chronotope, 169 Columbia, 98 CIA, 5, 13, 15, 88, 90, 92, 93, 99, Comedy, 106, 196 101, 103 Comical, 156 Cinema, 7, 10, 17, 33, 49, 57, 85, 87, Comics, 8 136, 172 Coming of age, genre, 41, 74 Cinema audiences, 57 Commentary, 43, 48, 72, 198 Cinema, Cross-Cultural Collaboration, Commercial relevance, 112 and Criticism, 10 Community, 6, 10, 48, 50–58, 61–63, Cinema di impegno civile, 115 96–97, 124, 131, 167, 175, Cinematic culture, 60 178–180 Cinematic fction, 126 Complex TV, 156 Cinematic narrative, 70 Composite, 104, 166–170, 181 212 INDEX Composite character, 166–167 Coolgardie, 192, 199 Compression, 119 Copenhagen, 144 Conan the Barbarian, 5, 33, 37, 45 Coproduction, 71 Concept, 8, 14, 18, 25, 34, 99, 128, Corradori, Niccolò, 113 158, 165, 170 Correspondence, 97, 112, 114, 127, Concepts in Film Theory, 26 128, 131 Conceptual underpinning, 70 Corriere della Sera, 113 Conclusions, 15, 181, 195 Corrigan, Timothy, 35 Concrete, 84, 100 Corruption, 4, 114, 116, 119, 132 Confessions of a Postmodern(?) Cosa Nostra, 123 Historian, 198 Cosplaying, 171, 176 Confation, 113, 119, 132 Court reports,
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