Contents -- Notes on Contributors -- Introduction: Classics Across the Film/ Literature Divide -- Notes -- Further Reading -- 1. 'If Only You Could See What I've Seen with Your Eyes': Blade Runner and La Symphonie Pastorale -- Notes -- 2. Classic Shakespeare for All: Forbidden Planet and Prospero's Books, Two Screen Adaptations of The Tempest -- Notes -- 3. The Red and the Blue: Jane Eyre in the 1990s -- Notes -- 4. Transcultural Aesthetics and the Film Adaptations of Henry James -- The American -- The Portrait of a Lady -- The Wings of the Dove -- Notes -- 5. 'Hystorical' Puritanism: Contemporary Cinematic Adaptations of Nathaniel Hawthorne's The Scarlet Letter and Arthur Mil -- Notes -- 6. Mrs Dalloway and Orlando: The Subject of Time and Generic Transactions -- Notes -- 7. 'Desire Projected Itself Visually': Watching Death in Venice -- Notes -- 8. Leopold Bloom Walks and Jimmy Stewart Stares: On Motion, Genre and the Classic -- Notes -- 9. Trial and Error: Combinatory Fidelity in Two Versions of Franz Kafka's The Trial -- Notes -- 10. In Cold Blood : Yellow Birds, New Realism and Killer Culture -- Notes -- 11. Home by Tea- time: Fear of Imagination in Disney's Alice in Wonderland -- Notes -- Index -- 2001 A Space Odyssey [Kubrick] 43 -- acting, stage and screen 96-7 -- actors -- foreign 58 -- recycling 8 -- recycling 8 -- recycling 56-7 -- recycling 56-7 -- recycling 94 -- recycling 94 -- recycling 187-8 -- recycling 187-8 -- recycling 189-90 -- recycling 189-90 -- adaptations of classics -- and contemporary context 3-4 -- and imaginative rereadings 138 -- and interpretation 7 -- and interpretation 8 -- and interpretation 10 -- and interpretation 48-50 -- and interpretation 138 -- and interpretation 181 -- and making money 9 -- and making money 94 -- authority of text 43 -- authority of text 45.

authority of text 46 -- authority of text 49 -- bringing past to life 121-3 -- fidelity 3 -- fidelity 4-5 -- fidelity 8 -- fidelity 181 -- fidelity 190 -- fidelity 203 -- updating 5 -- updating 6 -- updating 38 -- updating 66-7 -- updating 68 -- updating 69 -- Adorno, Theodor 180 -- aesthetics, and power 2-3 -- Age of Innocence [Scorsese] 77 -- Aladdin [Disney] 222 -- Aldiss, Brian 40 -- Alexieff, Alexandre 182 -- Alice in Wonderland [Disney] -- 210 -- 215 -- 217-22 -- Alice objectified 220 -- and female imagination 210 -- and female imagination 213 -- and female imagination 218 -- and guilt 208 -- and guilt 221-2 -- and imaginative freedom 222 -- and repression 207 -- and surrealism 221 -- conservative narrative 218-20 -- Allan, Robin -- 215 -- 217 -- 220-1 -- allegory 44-5 -- Althusser, Louis 26 -- American Dream -- 196 -- 197-8 -- American Psycho [Ellis] 203 -- American, The [Unwin] -- 5 -- 70 -- 72 -- 75-9 -- 81 -- 83 -- and James's narrative tone 76-7 -- clash of cultures 75-6 -- Amini, Hossein -- 84 -- 85 -- anachronism -- 5 -- 6 -- Andrews, Dudley 94 -- animation -- and imaginative freedom 222 -- and surrealism 208-9 -- aspect 22 -- Austen, Jane -- 71 -- 160 -- 212 -- author-function 26 -- authorship -- 26 -- 27 -- 49 -- autoerotic gaze -- 139-41 -- 143 -- Bambi [Disney] -- 216 -- 217 -- Barker, Adam 44 -- Barker, F. 46 -- Barrault, J.-L. 180 -- Bauer, Felice -- 176-7 -- 178 -- 179 -- Bazin, André 106-7 -- Beauty and the Beast [Disney] 213 -- Bergman, Andrew 99 -- Bierman, Robert 68 -- Binoche, Juliette 58 -- biography 116 -- Bird, Nathaniel 48 -- Blade Runner [Scott] -- and classic status 4 -- and classic status 15 -- and classic status 20-1 -- and classic status 24-5 -- and classic status 29 -- and English curriculum 4 -- and English curriculum 15 -- and English curriculum 31 -- replication 16-17.

replication 18-20 -- text as'object' 22 -- themes 23 -- Bloch, Grete 176-7 -- Blue Lagoon [Kleiser] 102 -- Bogarde, Dirk 137 -- Bonham-Carter, Helena 85 -- Bordwell, David -- 2 -- 160 -- Bourdieu, Pierre -- 2 -- 3 -- 28 -- Boyum, Joy Gould 138 -- Branagh, Kenneth -- 5 -- 36 -- Braudy, Leo 96-7 -- Broch, Hermann 88 -- Brod, Max -- 8 -- 176 -- 178-9 -- 180 -- 190 -- Brontë, Charlotte 54 -- Brontës 160 -- Brooks, Peter 84 -- Brooks, Richard -- 8-9 -- 200-2 -- Browne, Nick 145 -- Bruzzi, Stella 70 -- Burr, Raymond -- 168 -- 170 -- 171 -- 172 -- Calvino, Italo -- 1 -- 3 -- 202 -- Campion, Jane -- 70 -- 79 -- 80 -- 82 -- Canby, Vincent 37-8 -- Cannon, Kelly 74 -- Cantor, Paul A. 46 -- Capote, Truman -- 8-9 -- 194-205 -- good and'evil' 204 -- history and uncertainty 199-200 -- New Journalism 195 -- New Journalism 200 -- research for In Cold Blood 194-5 -- research for In Cold Blood 198 -- Carroll, Lewis -- 210 -- 213-15 -- Cavecchi, Mariacristina 45 -- Caveney, Graham -- 198-9 -- 202 -- Central Station [Salles] 88 -- Cervantes, Miguel de 211 -- Chambers, Iain -- 73-4 -- 88 -- Chion, Michel -- 148 -- 150 -- cinematic gaze -- 139-46 -- 148 -- 151-2 -- city street -- 157 -- 161-2 -- 168 -- 172 -- Clark, Michael 47 -- classic status -- 5 -- 9-10 -- 15 -- 23-5 -- 31 -- classic[s] -- and subversion 160-1 -- anti-essentialist approach 31 -- definitions 1 -- definitions 2 -- definitions 3 -- definitions 7 -- definitions 25 -- definitions 54 -- definitions 159-60 -- timelessness and truth 138 -- Clayton, Jack 70 -- Close, Glenn 94 -- Coats, Claude -- 218 -- 221 -- Coe, Jonathan 94 -- Cohen, Keith 158 -- Cohn, Dorrit 145 -- Collick, John 36 -- colour and lighting -- 60-3 -- 64 -- 122 -- Congreve, William -- 211 -- 213 -- 217 -- 222 -- Cooper, James Fenimore 94 -- Corliss, Richard 103 -- costume drama -- 5-6 -- 7 -- 70-1 -- 72 -- 88 -- Crowley, Bob.

106 -- 107 -- Crucible, The [Hytner] -- 8 -- 94-5 -- 98 -- 100 -- 104-10 -- and repressed sexuality 106-8 -- Miller's revision 105-6 -- Miller's revision 109 -- realism 95 -- realism 107 -- realism 110 -- universal theme 105 -- universal theme 108 -- Crumb, Robert 179 -- cultural capital 2 -- cultural studies -- 4 -- 15 -- 28 -- cultural traffic 73-4 -- Dali, Salvador -- 210 -- 217 -- Day-Lewis, Daniel 94 -- Death in Venice [Mann] -- 87 -- 137-40 -- 144 -- 145 -- 147 -- Death in Venice [Visconti] -- 10 -- 137-8 -- and cinematic gaze 139-46 -- and cinematic gaze 148 -- and cinematic gaze 151-2 -- and music 147-51 -- art and corruption 147 -- art and corruption 150 -- art and corruption 151 -- audience complicity 142-3 -- departures from novella 146-7 -- flashbacks 146 -- flashbacks 148 -- flashbacks 149 -- imaginative re-reading 7 -- imaginative re-reading 138-9 -- point-of-view manipulation 143-5 -- point-of-view manipulation 152 -- sexual explicitness 137 -- Derrida, Jacques -- 21 -- 26 -- Dickens, Charles 160 -- Disney classics -- and female imagination 210 -- and female imagination 213 -- and female imagination 218 -- and masochism 209 -- and masochism 210 -- and political correctness 223 -- and realism 216-17 -- and realism 222 -- and surrealism 209 -- and surrealism 209 -- and surrealism 216 -- and surrealism 216 -- and surrealism 217-18 -- and surrealism 217-18 -- black humour 216 -- conflicting messages 210 -- conflicting messages 215 -- development 9 -- development 207-8 -- development 209-11 -- development 223 -- Disney Corporation -- 9 -- 222-3 -- monopoly over fantasy 223 -- Disney, Walt -- 208 -- 209 -- 210 -- 218 -- 223 -- political ideology 215-16 -- political ideology 215-16 -- political ideology 217 -- political ideology 217 -- documentary 195 -- dominant culture, values of 3.

Donovan, Martin 81 -- Drew, Robert 201 -- Dumbo [Disney] 9 -- Edinburgh Film Festival 37 -- education -- social role of 29 -- social role of 30 -- Edwards, Anthony 203 -- Eliot, George -- 23 -- 160 -- Eliot, Marc -- 207 -- 215 -- Elliott, Alison 85 -- Ellis, Bret Easton 203 -- Ellis, William 157 -- English curriculum -- 3 -- 14-16 -- 19-30 -- and exclusion 24 -- and exclusion 26-7 -- and exclusion 30 -- and Literature 4 -- and Literature 15 -- and Literature 21-2 -- and Literature 27-8 -- and textuality 14-16 -- and textuality 14-16 -- and textuality 19-20 -- and textuality 19-20 -- and textuality 25 -- and textuality 25 -- and textuality 26 -- and textuality 26 -- and textuality 29 -- and textuality 29 -- centralised control 29 -- cultural dimension 27-8 -- cultural dimension 31 -- in tertiary education 27 -- essay-film 202-3 -- Esslin, Martin -- 180 -- 181 -- ethical responsibility -- 8-9 -- 194 -- 198-9 -- expressionism 8 -- familiar strangeness 73 -- fantasy, and realism -- 212 -- 213 -- 214 -- 217 -- Fatal Attraction [Lyne] -- 94 -- 106 -- Female Quixote, The [Lennox] 13 -- feminism -- 95 -- 99-100 -- 103 -- 128 -- fiction -- and fantasy 211 -- and non-fiction 195 -- and non-fiction 199 -- postwar American 195-6 -- filiation 16 -- film, and novel form 202-3 -- flashbacks -- 123 -- 146 -- 148 -- 149 -- 164 -- Fontaine, Joan -- 5 -- 54 -- Forbidden Planet [Wilcox] -- 35-6 -- 38-43 -- 49 -- and monstrosity 35 -- and monstrosity 40 -- and monstrosity 41-2 -- and nuclear annihilation 41 -- and Shakespeare as source 34-5 -- and Shakespeare as source 43 -- and Shakespeare as source 49 -- and young audiences 38-9 -- and young audiences 38-9 -- and young audiences 42-3 -- and young audiences 42-3 -- as Science Fiction 38 -- as Science Fiction 39 -- as Science Fiction 40 -- as Science Fiction 42.

Freudian reading 41.