This book develops a new approach for the study of films adapted
from canonical 'originals' such as Shakespeare's plays. Departing
from the current consensus that adaptation is a heightened example
of how all texts inform and are informed by other texts, this book
instead argues that film adaptations of canonical works extend
cinema's inherent mystification and concealment of its own
artifice. Film adaptation consistently manipulates and obfuscates
its traces of 'original' authorial enunciation, and oscillates
between overtly authored articulation and seemingly un-authored
unfolding. To analyse this process, the book moves from a dialogic
to a psychoanalytic poststructuralist account of film adaptations
of Shakespeare's plays. The differences between these rival
approaches to adaptation are explored in depth in the first part of
the book, while the second part constructs a taxonomy of the
various ways in which authorial signs are simultaneously
foregrounded and concealed in adaptation's anamorphic drama of
authorship.
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