LITERATURE, FILM, AND ADAPTATION	5
	Contents	7
	Contributors	10
	Acknowledgments	13
	Foreword: Kamilla Elliott	14
	100+ Years of Adaptations, or, Adaptation as the Art Form of Democracy	17
	Part I: History and Contexts: From Image to Sound	31
	1: Literary Adaptation in the Silent Era	33
	2: Writing on the Silent Screen	49
	3: Adaptation and Modernism	68
	4: Sound Adaptation Sam Taylor’s The Taming of the Shrew	86
	Part II: Approaches	101
	5: Adaptation and Intertextuality, or, What isn’t an Adaptation, and What Does it Matter?	103
	6: Film Authorship and Adaptation	121
	7: The Business of Adaptation Reading the Market	138
	Part III: Genre: Film, Television	157
	8: Adapting the X-Men Comic-Book Narratives in Film Franchises	159
	9: The Classic Novel on British Television	175
	Part IV: Authors and Periods	193
	10: Screened Writers	195
	11: Murdering Othello	214
	12: Hamlet’s Hauntographology Film Philology, Facsimiles, and Textual Faux-rensics	232
	13: Shakespeare to Austen on Screen	257
	14: Austen and Sterne: Beyond Heritage	272
	15: Neo-Victorian Adaptations	288
	Part V: Beyond Authors and Canonical Texts	309
	16: Costume and Adaptation	311
	17: Music into Movies The Film of the Song	328
	18: Rambo on Page and Screen	346
	Part VI: Case Studies: Adaptable and Unadaptable Texts	359
	19: Writing for the Movies Writing and Screening Atonement (2007)	361
	20: Foregrounding the Media Atonement (2007) as an Adaptation	375
	21: Paratextual Adaptation Heart of Darkness as Hearts of Darkness via Apocalypse Now	390
	22: Authorship, Commerce, and Harry Potter	407
	23: Adapting the Unadaptable – The Screenwriter’s Perspective	424
	Index	432