Adaptation persists as a major area of inquiry in both film and literary studies. Over the past two decades, scholars have extended the debate well beyond George Bluestone's influential Novels into Film (1957) by taking into account such concerns as intertextuality and different forms of narrative enabled through new media. A dominant trend has been to dispense straight away with questions of fidelity and "faithfulness," the assumption being that such views are naive, moralistic, and rooted in a cultural prejudice against the audiovisual. While acknowledging the merits of this position-namely its complication of the one-way "page-to-screen" perspective-this collection seeks to put the question of fidelity back into play. The essays explore the ways in which the newer, more sophisticated approaches can still accommodate forms of fidelity between two or more texts without having to reinscribe untenable distinctions between "original" and "copy," and without having to argue from a strict media essentialist position that stages an impasse between linguistic and cinematic means of articulation. In addition, the scholars in this volume seek to recognize and account for fidelity's cultural currency among filmmakers and audiences alike, no matter how impossible fidelity might be in a literal sense. The selected essays offer an opportunity to showcase both well established adaptation scholars (Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and emerging voices in the field.

A brilliantly inventive and often funny story of family and identity, inheritance and birthright, ambiguous loss and finding your way, Frank Walsh's voice will stay with you long after you've finished reading. Frank Whelan is the seventh son of a seventh son, so by now should have inherited his father's legendary healing power, but still hasn't managed to graduate beyond small-time skin afflictions. He already feels adrift when his twin, Bernie, reveals a life-changing decision that calls into question everything Frank thought he knew about his place in the family. And then he discovers his father had been keeping secrets of his own. And so Frank turns to an unlikely source for guidance and finds himself on a quest for answers... from this world, and the next. A boundlessly inventive novel about the past's hold over the present, set in an Irish community alive with old magic and extraordinary possibility, The Deadwood Encore is an electrifying debut from one of Ireland's most acclaimed short-fiction authors.

More than eleven hundred dogs served in Vietnam as part of the United States Armed Forces. Working alongside members of all branches of service, these canine soldiers filled vital roles in the campaign in Southeast Asia. Despite their numbers and heroics, the history of the dogs and the servicemen who worked with them is relatively unknown, even among the dog handlers themselves. Even before American troops were formally committed in Vietnam, military advisors to the region recognized the usefulness and importance of military working dogs. As early as 1960 American scout and sentry dogs were introduced in South Vietnam to assist the Army of the Republic of Vietnam in protecting their military installations as well as in searching for the Vietcong and soldiers of the North Vietnamese Army. Utilizing dogs that had been left behind by the French, U.S. Air Force personnel established the Army Republic of Vietnam dog program.

Adaptation persists as a major area of inquiry in both film and literary studies. Over the past two decades, scholars have extended the debate well beyond George Bluestone's influential Novels into Film (1957) by taking into account such concerns as intertextuality and different forms of narrative enabled through new media. A dominant trend has been to dispense straight away with questions of fidelity and "faithfulness," the assumption being that such views are naive, moralistic, and rooted in a cultural prejudice against the audiovisual. While acknowledging the merits of this position-namely its complication of the one-way "page-to-screen" perspective-this collection seeks to put the question of fidelity back into play. The essays explore the ways in which the newer, more sophisticated approaches can still accommodate forms of fidelity between two or more texts without having to reinscribe untenable distinctions between "original" and "copy," and without having to argue from a strict media essentialist position that stages an impasse between linguistic and cinematic means of articulation. In addition, the scholars in this volume seek to recognize and account for fidelity's cultural currency among filmmakers and audiences alike, no matter how impossible fidelity might be in a literal sense. The selected essays offer an opportunity to showcase both well established adaptation scholars (Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and emerging voices in the field.