Authorship in film adaptation

Abstract

Acknowledgments - Introduction: The Screenplay and Authorship in Adaptation - PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT - 1 Mildred Pierce: A Troublesome Property to Script - 2 Hitchcock and His Writers: Authorship and Authority in Adaptation - 3 From Traumnovelle (1927) to Script to Screen—Eyes Wide Shut (1999) - PART II SCREENPLAY ADAPTED AND DIRECTED BY - 4 Private Knowledge, Public Space: Investigation and Navigation in Devil in a Blue Dress - 5 “Strange and New . . .”: Subjectivity and the Ineff able in Th e Sweet Hereafter - PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES - 6 Adaptation as Adaptation: From Susan Orlean’s Th e Orchid Th ief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film - 7 From Obtrusive Narration to Crosscutting: Adapting the Doubleness of John Fowles’s The French Lieutenant’s Woman - 8 The Three Faces of Lolita, or How I Learned to Stop Worrying and Love the Adaptation - 9 Traffi c/Traffi k: Race, Globalization, and Family in Soderbergh’s Remake -- PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS - 10 Adapting Nick Hornby’s High Fidelity: Process and Sexual Politics - 11 Adaptable Bridget: Generic Intertextuality and Postfeminism in Bridget Jones’s Diary - 12 “Who’s Your Favorite Indian?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay - Notes on Contributors - Name and Title - Index