Authoring a film adaptation of a literary source not only requires
a media conversion but also a transformation as a result of the
differing dramatic demands of cinema. The most critical central
step in this transformation of a literary source to the screen is
the writing of the screenplay. The screenplay usually serves to
recruit producers, director, and actors; to attract capital
investment; and to give focus to the conception and production of
the film project. Often undergoing multiple revisions prior to
production, the screenplay represents the crucial decisions of
writer and director that will determine how and to what end the
film will imitate or depart from its original source.
Authorship in Film Adaptation is an accessible, provocative text
that opens up new areas of discussion on the central process of
adaptation surrounding the screenplay and screenwriter-director
collaboration. In contrast to narrow binary comparisons of literary
source text and film, the twelve essays in this collection also
give attention to the underappreciated role of the screenplay and
film pre-production that can signal the primary intention for a
film. Divided into four parts, this collection looks first at the
role of Hollywood's activist producers and major auteurs such as
Hitchcock and Kubrick as they worked with screenwriters to
formulate their audio-visual goals. The second part offers case
studies of Devil in a Blue Dress and The Sweet Hereafter, for which
the directors wrote their own adapted screenplays. Considering the
variety of writer-director working relationships that are possible,
Part III focuses on adaptations that alter genre, time, and place,
and Part IV investigatesadaptations that alter stories of romance,
sexuality, and ethnicity.
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