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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.
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.
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