3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999)

Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGMENTS ix
4. INTRODUCTION: THE SCREENPLAY AND AUTHORSHIP IN ADAPTATION 1
5. PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT
6. 1 MILDRED PIERCE A Troublesome Property to Script 35
7. 2 HITCHCOCK AND HIS WRITERS Authorship and Authority in Adaptation 63
8. 3 FROM TRAUMNOVELLE (1927) TO SCRIPT TO SCREEN— EYES WIDE SHUT (1999) 85
9. PART II SCREENPLAY ADAPTED AND DIRECTED BY
10. 4 PRIVATE KNOWLEDGE, PUBLIC SPACE Investigation and Navigation in Devil in a Blue Dress 111
11. 5 “STRANGE AND NEW . . .” Subjectivity and the Ineffable in The Sweet Hereafter 131
12. PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES
13. 6 ADAPTATION AS ADAPTATION From Susan Orlean’s The Orchid Thief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film 161
14. 7 FROM OBTRUSIVE NARRATION TO CROSSCUTTING Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman 179
15. 8 THE THREE FACES OF LOLITA, OR HOW I LEARNED TO STOP WORRYING AND LOVE THE ADAPTATION 203
16. PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS
17. 10 ADAPTING NICK HORNBY’S HIGH FIDELITY Process and Sexual Politics 257
18. 11 ADAPTABLE BRIDGET Generic Intertextuality and Postfeminism in Bridget Jones’s Diary 281
19. 12 “WHO’S YOUR FAVORITE INDIAN?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay 305
20. NOTES ON CONTRIBUTORS 325
21. NAME AND TITLE INDEX 329