CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION -- Part I: HOLLYWOOD'S "ACTIVIST" PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT -- 1. MILDRED PIERCE: A Troublesome Property to Script -- 2. HITCHCOCK AND HIS WRITERS: Authorship and Authority in Adaptation -- 3. FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN-EYES WIDE SHUT (1999) -- Part II: SCREENPLAY ADAPTED AND DIRECTED BY -- 4. PRIVATE KNOWLEDGE, PUBLIC SPACE: Investigation and Navigation in Devil in a Blue Dress -- 5. "STRANGE AND NEW . . .": Subjectivity and the Ineffable in The Sweet Hereafter -- Part III: WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES -- 6. ADAPTATION AS ADAPTATION: From Susan Orlean's The Orchid Thief to Charlie (and "Donald") Kaufman's Screenplay to Spike Jonze's Film -- 7. FROM OBTRUSIVE NARRATION TO CROSSCUTTING: Adapting the Doubleness of John Fowles's The French Lieutenant's Woman -- 8. THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION -- 9. TRAFFIC/TRAFFIK: Race, Globalization, and Family in Soderbergh's Remake -- Part IV: VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS -- 10. ADAPTING NICK HORNBY'S HIGH FIDELITY: Process and Sexual Politics -- 11. ADAPTABLE BRIDGET: Generic Intertextuality and Postfeminism in Bridget Jones's Diary -- 12. "WHO'S YOUR FAVORITE INDIAN?" The Politics of Representation in Sherman Alexie's Short Stories and Screenplay -- NOTES ON CONTRIBUTORS -- NAME AND TITLE INDEX.