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Most books on film adaptation -- the relation between films and their literary sources -- focus on a series of close one-to-one comparisons between specific films and canonical novels. This volume identifies and investigates a far wider array of problems posed by the process of adaptation. Beginning with an examination of why adaptation study has so often supported the institution of literature rather than fostering the practice of literacy, Thomas Leitch considers how the creators of short silent films attempted to give them the weight of literature, what sorts of fidelity are possible in an adaptation of sacred scripture, what it means for an adaptation to pose as an introduction to, rather than a transcription of, a literary classic, and why and how some films have sought impossibly close fidelity to their sources. After examining the surprisingly divergent fidelity claims made by three different kinds of canonical adaptations, Leitch's analysis moves beyond literary sources to consider why a small number of adapters have risen to the status of auteurs and how illustrated books, comic strips, video games, and true stories have been adapted to the screen. The range of films studied, from silent Shakespeare to Sherlock Holmes to The Lord of the Rings, is as broad as the problems that come under review.

Film adaptations --- History and criticism. --- Comparative literature --- Film --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- Adaptations cinématographiques --- Histoire et critique --- History and criticism

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Basic Instinct (Film) --- Basic Instinct (Motion picture) --- Blue Velvet (Cinéma) --- Blue Velvet (Film) --- Blue Velvet (Motion picture) --- Bullitt (Film) --- Bullitt (Motion picture) --- Chinatown (Film) --- Chinatown (Motion picture) --- Crime de l'Orient Express, Le (Film) --- Double Indemnity (Film) --- Double Indemnity (Motion picture) --- Fargo (Film) --- Fargo (Motion picture) --- Fury (Film) --- Fury (Motion picture) --- Godfather, The (Film) --- Godfather, The (Motion pictures) --- Murder on the Orient Express (Film) --- Murder on the Orient Express (Motion picture) --- Parrain, Le (Film) --- Reversal of Fortune (Film) --- Reversal of Fortune (Motion picture) --- Detective and mystery films --- Gangster films --- Police films --- Films de détective --- Films de gangsters --- Films policiers --- History and criticism --- Histoire et critique --- United States

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This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.

Detective and mystery films --- Gangster films --- Police films --- Cop films --- Crime films --- Bandit gangster films --- Gang films --- Gangland films --- Hoodlum drama (Motion pictures) --- Mafia films --- Organized crime films --- Outlaw-couple films --- Outlaw gangster films --- Rural bandit films --- Syndicate films --- Syndicate-oriented films --- History and criticism. --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures)

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Perry Mason (Television program)

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From William Dickson's Rip Van Winkle films (1896) to Baz Luhrmann's big-budget production of The Great Gatsby (2013) and beyond, cinematic adaptations of American literature participate in a rich and fascinating history. Unlike previous studies of American literature and film, which emphasize particular authors like Edith Wharton and Nathaniel Hawthorne, particular texts like Moby-Dick, particular literary periods like the American Renaissance, or particular genres like the novel, this volume considers the multiple functions of filmed American literature as a cinematic genre in its own right-one that reflects the specific political and aesthetic priorities of different national and historical cinemas even as it plays a decisive role in defining American literature for a global audience.

American literature --- Motion pictures and literature --- Film adaptations --- History. --- Littérature américaine --- Cinéma et littérature --- Adaptations cinématographiques. --- Motion pictures