This book is a wide-ranging introduction to the long history and provocative debates about the interactions between film and literature.KEY TOPICS: Film and Literature: A Reader presents essays from a variety of cultures that address the major issues in the exchange between film and literature since the beginning of the twentieth century. The book provides landmark discussions of different genres and practices (such as poetry and movies or film scripts as literature) through writings by such figures as Vachel Lindsay, Walter Benjamin, and Alexander Astruc. It presents a concise, but detailed history of film and literature and the critical terms and techniques used in film and literary analysis as well as a detailed history of the bond between film and literature, from theatrical narratives of the silent film era to recent blockbuster adaptations of Shakespeare and Jane Austen. It also features introductions to each essay and suggests how the essays may be used to analyze works involving film and literature. An essential resource for every reader interested in film.

For most people, film adaptation of literature can be summed up in one sentence: "The movie wasn't as good as the book." This volume undertakes to show the reader that not only is this evaluation not always true but sometimes it is intrinsically unfair. Movies based on literary works, while often billed as adaptations, are more correctly termed translations. A director and his actors translate the story from the written page into a visual presentation. Depending on the form of the original text and the chosen method of translation, certain inherent difficulties and pitfalls are associated with this change of medium. So often our reception of a book-based movie has more to do with our expectations and reading of the literature than with the job that the movie production did or did not do. Avoiding these biases and fairly evaluating any particular literary-based film takes an awareness of certain factors. Written with a formalistic rather than historical approach, this work presents a comprehensive guide to literature-based films, establishing a contextual and theoretical basis to help the reader understand the relationships between such movies and the original texts as well as the reader's own individual responses to these productions. To this end, it focuses on recognizing and appreciating the inherent difficulties encountered when basing a film on a literary work, be it a novel, novella, play or short story. Individual chapters deal with the specific issues and difficulties raised by each of these genres, providing an overview backed up by case studies of specific film translations. Films and literary works receiving this treatment include The Unbearable Lightness of Being, The Manchurian Candidate (1962), Lady Windemere's Fan by Oscar Wilde and Shakespeare's Henry V. Interspersed throughout the text are suggestions for activities the film student or buff can use to enhance his or her appreciation and understanding of the films. Instructors considering this book for use in a course may request an examination copy here.

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.

Postmodern Metanarratives investigates the relationship between cinema and literature by analyzing the film Blade Runner as a postmodern work that constitutes a landmark of cyberpunk narrative and establishes a link between tradition and the (post)modern.

In this significantly expanded new edition of his acclaimed exploration of the four Alien movies, Stephen Mulhall adds several new chapters on Steven Spielberg’s Mission: Impossible trilogy and Minority Report. The first part of the book discusses the four Alien movies. Mulhall argues that the sexual significance of the aliens themselves, and of Ripley’s resistance to them, takes us deep into the question of what it is to be human. At the heart of the book is a highly original and controversial argument that films themselves can philosophize. Mulhall then applies his interpretative model to another sequence of contemporary Hollywood movies: the Mission: Impossible series. A brand new chapter is devoted to each of the three films in the series, and to other films by the relevant directors that cast light on their individual contribution to it. In this discussion, the nature of television becomes as central a concern as the nature of cinema; and the shift in generic focus from science fiction to thriller also makes room for a detailed reading of Spielberg’s Minority Report. On Film, Second Edition is essential reading for anyone interested in philosophy, film theory and cultural studies, and in the way philosophy can enrich our understanding of cinema.

This is a comprehensive collection of original essays that explore the aesthetics, economics, and mechanics of movie adaptation, from the days of silent cinema to contemporary franchise phenomena. Featuring a range of theoretical approaches, and chapters on the historical, ideological and economic aspects of adaptation, the volume reflects today’s acceptance of intertextuality as a vital and progressive cultural force. Incorporates new research in adaptation studies Features a chapter on the Harry Potter franchise, as well as other contemporary perspectives Showcases work by leading Shakespeare adaptation scholars Explores fascinating topics such as ‘unfilmable’ texts Includes detailed considerations of Ian McEwan’s Atonement and Conrad’s Heart of Darkness