A Companion to Literature, Film, and Adaptation Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post-canonical texts, orientating the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. Published Recently 62. A Companion to T. S. Eliot Edited by David E. Chinitz 63. A Companion to Samuel Beckett Edited by S. E. Gontarski 64. A Companion to Twentieth-Century United States Fiction Edited by David Seed 65. A Companion to Tudor Literature Edited by Kent Cartwright 66. A Companion to Crime Fiction Edited by Charles Rzepka and Lee Horsley 67. A Companion to Medieval Poetry Edited by Corinne Saunders 68. 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A Companion to Literature, Film, and Adaptation Edited by Deborah Cartmell A COMPANION TO LITERATURE, FILM, AND ADAPTATION EDITED BY DEBORAH CARTMELL A John Wiley & Sons, Ltd., Publication This edition first published 2012 © 2012 Blackwell Publishing Ltd Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www. wiley.com/wiley-blackwell. The right of Deborah Cartmell to be identified as the author of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging-in-Publication Data A companion to literature, film, and adaptation / edited by Deborah Cartmell. p. cm. Includes bibliographical references. ISBN 978-1-4443-3497-5 (cloth) 1. Film adaptations–History and criticism. 2. Television adaptations–History and criticism. 3. English literature–Adaptations. 4. American literature–Adaptations. 5. Motion pictures and literature. 6. Television and literature. I. Cartmell, Deborah. PN1997.85.C64 2012 791.43'6–dc23 2012008957 A catalogue record for this book is available from the British Library. Cover image: James McAvoy and Keira Knightley in Atonement, directed by Joe Wright, 2007. Image courtesy of Focus Features / The Kobal Collection, Alex Bailey. Cover design by Richard Boxall Design Associates Set in 11/13 pt Garamond Three by Toppan Best-set Premedia Limited 1 2012 Contents List of Contributors viii Acknowledgments xi Foreword: Kamilla Elliott xii 100+ Years of Adaptations, or, Adaptation as the Art Form of Democracy 1 Deborah Cartmell Part I History and Contexts: From Image to Sound 15 1 Literary Adaptation in the Silent Era 17 Judith Buchanan 2 Writing on the Silent Screen 33 Gregory Robinson 3 Adaptation and Modernism 52 Richard J. Hand 4 Sound Adaptation: Sam Taylor’s The Taming of the Shrew 70 Deborah Cartmell Part II Approaches 85 5 Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter? 87 Thomas Leitch vi Contents 6 Film Authorship and Adaptation 105 Shelley Cobb 7 The Business of Adaptation: Reading the Market 122 Simone Murray Part III Genre: Film, Television 141 8 Adapting the X-Men: Comic-Book Narratives in Film Franchises 143 Martin Zeller-Jacques 9 The Classic Novel on British Television 159 Richard Butt Part IV Authors and Periods 177 10 Screened Writers 179 Kamilla Elliott 11 Murdering Othello 198 Douglas M. Lanier 12 Hamlet’s Hauntographology: Film Philology, Facsimiles, and Textual Faux-rensics 216 Richard Burt 13 Shakespeare to Austen on Screen 241 Lisa Hopkins 14 Austen and Sterne: Beyond Heritage 256 Ariane Hudelet 15 Neo-Victorian Adaptations 272 Imelda Whelehan Part V Beyond Authors and Canonical Texts 293 16 Costume and Adaptation 295 Pamela Church Gibson and Tamar Jeffers McDonald 17 Music into Movies: The Film of the Song 312 Ian Inglis 18 Rambo on Page and Screen 330 Jeremy Strong Part VI Case Studies: Adaptable and Unadaptable Texts 343 19 Writing for the Movies: Writing and Screening Atonement (2007) 345 Yvonne Griggs Contents vii 20 Foregrounding the Media: Atonement (2007) as an Adaptation 359 Christine Geraghty 21 Paratextual Adaptation: Heart of Darkness as Hearts of Darkness via Apocalypse Now 374 Jamie Sherry 22 Authorship, Commerce, and Harry Potter 391 James Russell 23 Adapting the Unadaptable – The Screenwriter’s Perspective 408 Diane Lake Index 416 Contributors Judith Buchanan is author of Shakespeare on Silent Film (2009), Shakespeare on Film (2005), editor of The Writer on Film: Screening Literary Authorship (forthcoming) and runs the Film and Literature program at the University of York. Richard Burt is Professor of English and Film and Media Studies at the University of Florida. His most recent book is entitled Medieval and Early Modern Film and Media (2008; paperback 2010). Richard Butt is Head of Media, Communication and Performing Arts at Queen Margaret University, Edinburgh. His publications include essays in Critical Studies in Television and From Tartan to Tartanry: Scottish Culture, History and Myth (2010). Deborah Cartmell is Professor of English at De Montfort University and co-editor of two international journals, Adaptation (Oxford University Press) and Shakespeare (Routledge). She is currently working on a history of screen adaptations. Shelley Cobb is a Lecturer at the University of Southampton. She has published on adaptation, Jane Campion, chick flicks, and celebrity; and is writing a mono- graph entitled Women, Adaptation and Post-feminist Filmmaking. Kamilla Elliott is a Senior Lecturer in English at Lancaster University. She is author of Rethinking the Novel/Film Debate (2003) and Portraiture and British Gothic Fiction: The Rise of Picture Identification, 1764–1835 (2012). Christine Geraghty is an Honorary Research Fellow (Glasgow University and Goldsmiths, University of London). Publications include Now a Major Motion Picture (2008) and a study of Bleak House (BBC, 2005) in 2012. Contributors ix Pamela Church Gibson is Reader in Cultural & Historical Studies at the London College of Fashion, editor of the journal of Film, Fashion & Consumption and author of Fashion & Celebrity Culture (2011). Yvonne Griggs is a Lecturer at De Montfort University and has published articles in a number of leading adaptations journals. Her study of King Lear on screen was published by Methuen in 2009. Lisa Hopkins is Professor of English at Sheffield Hallam University. Her publica- tions include Relocating Shakespeare and Austen on Screen (2009) and Shakespeare’s The Tempest: The Relationship between Text and Film (2008). Richard J. Hand is Professor of Theatre and Media Drama at the University of Glamorgan. He is the founding co-editor of the Journal of Adaptation in Film and Performance. Ariane Hudelet is Assistant Professor at Paris Diderot University. Her books include Pride and Prejudice: Jane Austen et Joe Wright (2006) and The Cinematic Jane Austen (with co-authors David Monaghan and John Wiltshire, 2009). Ian Inglis is Visiting Fellow at Northumbria University, with research interests in music, film, and television. His books include Popular Music and Film (2003), Per- formance and Popular Music (2006), and Popular Music and Television in Britain (2010). Diane Lake, a screenwriting Professor at Emerson College in Boston, has written films for Columbia, Disney, Miramax, and Paramount. Diane’s film, Frida, opened the Venice Film Festival in 2002 and was nominated for six Academy Awards.