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Offered here is a consideration of films and the dramas or books from which they derive as seen through the eyes of literary critics, a veteran Hollywood producer, and the screenwriters themselves.
List of contents
Writing for Film by Horton Foote A Mythical Kingdom: The Hollywood Film Industry in the 1930s and 1940s by Samuel Marx "The Whole World... Willie Stark": Novel and Film of All the King's Men by Robert Murray Davis One Flew over the Cuckoo's Nest: A Tale of Two Decades by Thomas J. Slater Bus Stop as Self-Reflexive Parody: George Axelrod on its Adaptation by Joanna E. Rapf The Author Behind the Author: George Cukor and the Adaptation of the Philadelphia Story by Gary L. Green "Nur Schauspieler": Spectacular Politics, Mephisto, and Good by Harriet Margolis Bertolucci's Adaptation of the Conformist: A Study of the Function of the Flashbacks in the Narrative Strategy of the Film by Peggy Kidney Collaboration, Alienation, and the Crisis of Identity in the Film and Fiction of Patrick Modiano by Richard J. Golson Writing with the Ink of Light: Jean Cocteau's Beauty and the Beast by Lynn Hoggard The Plight of Film Adaptation in France: Toward Dialogic Process in the Auteur Film by Ghislaine Geloin Greene's Fictional Treatment: An Experiment in Storytelling by Edward A Kearns Individual and Societal Encounters with Darkness and the Shadow in the Third Man by Paul W. Rea Dona Flor and Her Two Husbands: A Tale of Sensuality, Sustenance, and Spirits by Enrique Gronlund and Moylan C. Mills Mythical Patterns in Jorge Amado's Gabriella--Clove and Cinnamon and Bruno Barreto's Film Gabriela by John Martin and Donna L. Van Bodegraven
Summary
Classic films can and do derive from classic literature, but the predication and process by which they arrive stirs debate among veteran filmmakers and scholars alike. This volume explores classic American and foreign films, the novels and dramas from which they derive, auteur cinema, and the complexities of adaptation.
