Chapters in this book

1. Frontmatter 1
2. TABLE OF CONTENTS 7
3. INTRODUCTION 11
4. PART ONE. REALISM AND ITS “OTHERS”
5. Beyond the National -Realist Text : Imagining the Impossible Nation in Contemporary Canadian Cinema 25
6. Griersonian “Actuality” and Social Protest in Dorothy Livesay’s Documentary Poems 39
7. “Stunning and Strange”: Icelan d as Memory and Prophecy in Alice Munro’s “White Dump” and Sarah Polley’s “Awa y from Her” 59
8. Maddin, Melodrama and the Pre-National 77
9. Dialogic Phantasy in Bruce McDonald’s Adaptive Narratives 95
10. PART TWO. ADAPTATION, FOR BETTER OR WORSE
11. Reading Canadian Film Credits : Adapting Institutions, Systems and Affects 113
12. Sisters in the Wilderness: Mythologizing Catharine Parr Traill 139
13. “Triumph” in the Backwoods: The CBC’s Take on Moodie and Traill in Sisters in the Wilderness (2000) 153
14. The Director’s Medium: Richard Attenborough’s De-Authorization of Grey Owl 169
15. Narrative Structure and Narrative Voices in The English Patient: Film and Novel—A Comparative Study 183
16. Loser Wins: The Rhetoric of High Modernism in The Apprenticeship of Duddy Kravitz 199
17. Why They Cannot Get It Right: A Reader’s Notes about Richler on Screen 219
18. “[I]t’s my nature”: A Comparison of Hagar Shipley’s Pride in The Stone Angel Novel and Film 229
19. PART THREE. IDENTITY: “TO BE OR NOT TO BE”
20. Why Sex Matters in Canadian Film and Literature 247
21. The Nature of Things: Coupland, Cinema and the Canadian Sixties and Seventies 259
22. Adapting Men to New Times? Engagements with Masculinism in John Howe ’s Why Rock the Boat? 277
23. Filming Music: Adapting Transnational Sound in The English Patient and Fugitive Pieces 299
24. “Something’s missing”: Explo ding Girlhood and Narrati ve in The Tracey Fragments 317
25. CONTRIBUTORS 333
26. INDEX 337