Literature/Film Quarterly

Contains literature film adaptations, book reviews, and interviews with directors, screenwriters, and critics.

Articles from Vol. 38, No. 4, 2010

"Belle et le Vampire": Focus and Fidelity in Bram Stoker's Dracula
Despite its relative box office success,1 Bram Stoker's Dracuk languishes in the critical shadow of Francis Ford Coppola films like The Godfather I & II, The Conversation, and Apocalypse Now. Unappreciative commentators tend to stress two things...
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New Life
I hope the reader will forgive me for beginning this editorial in a more-than-usually personal way. In having my first baby - Charlotte Hope - I have lately made the biggest adaptation of my life and it leads me to re-conceptualize everything, including...
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"Please, Sir, I Want Some More": Clive Donner's Marxist Adaptation of Oliver Twist
Because the fiction of Charles Dickens is among "the most highly adaptable and regularly adapted literature appropriated for the screen" (DeBona 78), cinematic "readings" of Dickens's novels are particularly useful for envisioning the numerous interpretive...
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Popular Literature, Silent Film, and the Perils of Genre: Chickie (1923-1925)
In late November of 1923 readers of the Chicago Tribune, the city's leading newspaper, were confronted with a large advertisement (Fig. 1). It promised "tragedy - freedom - beauty - love-passion" and much more if only they would read Chickie, a work...
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Tom Perrotta in Conversation about Literary Adaptation
Born in 1961 and raised in New Jersey, Tom Perrotta became a writer after studying at the universities of Yale and Syracuse. He is the author of five novels: The Wishbones (1997), Election (1998), Joe College (2000), Little Children (2004), and The Abstinence...
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Toward a Sovereign Cinema: Georges Bataille's Hiroshima Mon Amour
If we live sovereignly, the representation of death is impossible [...].-Bataille, The Accursed ShareIn the [. . .] years since 9/11, we've begun to undetstand that it's possible to know what happened without knowing what happened. It's the difference...
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