Filmmakers have drawn inspiration from the pages of Emile Zola from
the earliest days of cinema. The ever-growing number of adaptations
they have produced spans eras, genres, languages, and styles. In
spite of the diversity of these approaches, numerous critics regard
them as inferior copies of a superior textual original. But key
novels by Zola resist this critical approach to adaptation. Both at
the level of characterization and in terms of their own textual
inheritance, they question the very possibility of origin, be it
personal or textual. In the light of this questioning, the
cinematic versions created from Zolas texts merit critical
re-evaluation. Far from being facile copies of the
nineteenth-century novelists works, these films assess their own
status as adaptations, playing with both notions of artistic
creation and their own artistic act. Kate Griffiths is a lecturer
in French at Swansea University.
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