Abstract

* Acknowledgments * Introduction: The Screenplay and Authorship in Adaptation (Jack Boozer) * Part I. Hollywood's Activist Producers and Major Auteurs Drive the Script *1. Mildred Pierce: A Troublesome Property to Script (Albert J. LaValley) *2. Hitchcock and His Writers: Authorship and Authority in Adaptation (Thomas Leitch) *3. From Traumnovelle (1927) to Script to Screen- Eyes Wide Shut (1999) (Jack Boozer) * Part II. Screenplay Adapted and Directed By *4. Private Knowledge, Public Space: Investigation and Navigation in Devil in a Blue Dress (Mark L. Berrettini) *5. Strange and New ...: Subjectivity and the Ineffable in The Sweet Hereafter (Ernesto R. Acevedo-Munoz) * Part III. Writer and Director Collaborations: Addressing Genre, History, and Remakes *6. Adaptation as Adaptation: From Susan Orlean's The Orchid Thief to Charlie (and Donald) Kaufman's Screenplay to Spike Jonze's Film (Frank P. Tomasulo) *7. From Obtrusive Narration to Crosscutting: Adapting the Doubleness of John Fowles's The French Lieutenant's Woman (R. Barton Palmer) *8. The Three Faces of Lolita, or How I Learned to Stop Worrying and Love the Adaptation (Rebecca Bell-Metereau) *9. Traffic/Traffik: Race, Globalization, and Family in Soderbergh's Remake (Mark Gallagher) * Part IV. Variations in Screenwriter and Director Collaborations *10. Adapting Nick Hornby's High Fidelity: Process and Sexual Politics (Cynthia Lucia) *11. Adaptable Bridget: Generic Intertextuality and Postfeminism in Bridget Jones's Diary (Shelley Cobb) *12. Who's Your Favorite Indian?: The Politics of Representation in Sherman Alexie's Short Stories and Screenplay (Elaine Roth) * Notes on Contributors * Index

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