Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Figures vi
4. Acknowledgements vii
5. Introduction: Accented Slants, Hollywood Genres – an Interfidelity Approach to Adaptation Theory 1
6. 1 An American Kipling: Colonial Discourse, Settler Culture and the Hollywood Studio System in George Stevens’ Gunga Din 21
7. 2 ‘He Is Not Here by Accident’: Transit, Sin and the Model Settler in Patrick Lussier’s Dracula 2000 39
8. 3 Those Other Victorians: Cosmopolitanism and Empire in Jane Campion’s The Portrait of a Lady 56
9. 4 Imperial Vanities: Mira Nair, William Makepeace Thackeray and Diasporic Fidelity to Vanity Fair 72
10. 5 Epic Multitudes: Postcolonial Genre Politics in Shekhar Kapur’s The Four Feathers 92
11. 6 Gentlemanly Gazes: Charles Dickens, Alfonso Cuarón and the Transnational Gulf in Great Expectations 115
12. 7 Indie Dickens: Oliver Twist as Global Orphan in Tim Greene’s Boy Called Twist 134
13. 8 Three-Worlds Theory Chutney: Oliver Twist, Q&A and the Curious Case of Slumdog Millionaire 152
14. Conclusion: Streaming Interfidelities and Post-Recession Adaptation 170
15. Notes 175
16. Bibliography 191
17. Index 203