Adapted from the Original

Laurence Raw has published extensively in the field of film adaptations and performance. He teaches in the Department of English at Baskent University, Ankara, Turkey.

Table of Contents


Acknowledgments

Introduction (Laurence Raw)

Part I. Genealogy

The Agency and Value of Remakes: The ­Television-to-Film

Adaptation (Kenneth A. Longden)

“I make all things new”: Describing the Ongoing Adaptation

in the ­Judeo-Christian Bible (Allen H. Redmon)

Origin-Ality: Sources and Adaptations of Francophone Voices

(Rebecca M. Pauly)

“No one ever sees the Angel”: Adapting The Phantom

of the Opera (Leslie McMurtry)

Fingersmith or Handmaiden: Adaptations from the ­Neo-Victorian

Era to Contemporary Asia (Ela İpek Gündüz)

Reshaping Gloriana: Representations of the British Queens

in Victoria (2016) and The Crown (2016) (Dorota Babilas)

Shakespearean Adaptation as Challenge: Edward Bond’s Lear

(Özlem Özmen)

Food for Thought or “mental chewing gum”: Truman Capote’s

Crime Adaptations and Cultural Memory Work (Suzanne Diamond)

Textual Museums in Edith Wharton and Orhan Pamuk (Hülya Yağcıoğlu)

Part II. Ontology

Caesar Must Die (2012): Shakespeare in Prison (Hui Wu)

Pride and Prejudice and Programming: A Stylometric Analysis (Agata Hołobut and Jan Rybicki)

Aki Kaurismäki’s “outrageously improvisatory” Adaptations of Four Familiar Literary Source Texts (Dennis Rothermel)

“This is how I lied about coming up with the idea for writing about The Brothers Grimm [2005]”: Incoherent Narration in Terry Gilliam’s Adaptation (Wickham Clayton)

Towards a Method for Negotiating Adaptation versus Allusion

(Christopher Wydler)181

Finding Value through “Personal Baggage” (Charles R. Hamilton)

Adaptation and Transformative Learning in an Undergraduate

History Class (Lısa Bunkowski)

Faiblesse des Deux Côtés: Adaptation and Value in Sexual

Subjectification (Jillian Saint Jacques)

About the Contributors

Index