In 1834, Sir John Herschel, perhaps the most celebrated astronomer of his time, arrived at the Cape of Good Hope to spend four years observing the southern sky.

Among his many other talents he was an accomplished artist, skilled in the use of an optical device known as a camera lucida. During these four years Herschel produced more than a hundred exquisite landscape sketches, some depicting the Feldhausen estate in the suburb of Wynberg, where he and his family lived, others meticulously recording scenes that enlivened his trips to Cape Point, to Table Mountain, to Hout Bay and to places in the farther reaches. Among the latter were Caledon, Franschhoek, Stellenbosch and Paarl.

These Herschel landscape drawings are an almost unmatched contribution to the artistic and historical record of the Cape in the early nineteenth century. They are reproduced in this title, together with a narrative text and background material that firmly set the illustrations in their social and geographical context. The result is an evocative picture of the Cape Peninsula and its environs at a time when they were still largely wild.

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.

Jodie Whittaker stars in this London-set psychological thriller. Mia (Whittaker) is an emotionally fragile young nurse struggling to come to terms with her mother's recent death. When an old woman in her building commits suicide in front of her, Mia becomes intensely curious about her. Admitted into the old woman's flat by the mysterious caretaker, Max (David Warner), Mia is shocked to discover that it is filled with mementoes and belongings from Mia's own past, including pictures of her abusive former lover Ludwig (Dougray Scott). So begins a journey into her past in which Mia finally learns to accept her own mistakes and faults, including her strong affection for the partner who hurt her, even as she tries to avoid the tragic ending that fate appears to have in store for her. Emilia Fox co-stars.

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