Authorship in Film Adaptation PDF
Preview Authorship in Film Adaptation
AUTHORSHIP IN FILM ADAPTATION BBoooozzeerr BBooookk11FF..iinnddbb ii 55//99//0088 1100::4455::4444 AAMM THIS PAGE INTENTIONALLY LEFT BLANK AUTHORSHIP IN FILM ADAPTATION ////////////////////////////////////// Edited and with an Introduction by Jack Boozer University of Texas Press Austin BBoooozzeerr BBooookk11FF..iinnddbb iiiiii 55//99//0088 1100::4455::4444 AAMM Copyright © 2008 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2008 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ Th e paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Authorship in fi lm adaptation / edited by Jack Boozer. p. cm. Includes bibliographical references and index. isbn 978-0-292-70285-1 (cloth : alk. paper) — isbn 978-0-292-71853-1 (pbk. : alk. paper) 1. Film adaptations. 2. Motion picture authorship. I. Boozer, Jack, 1944– pn1997.85.a92 2008 808.2'3—dc22 2007049228 BBoooozzeerr BBooookk11FF..iinnddbb iivv 55//99//0088 1100::4455::4444 AAMM Th is book is dedicated to the memory of my mother, Ruth, who died October 24, 2006, at the age of eighty-nine. She gave me a love for literature and the arts, and confi dence in the search for that particular kind of truth. BBoooozzeerr BBooookk11FF..iinnddbb vv 55//99//0088 1100::4455::4444 AAMM THIS PAGE INTENTIONALLY LEFT BLANK CONTENTS //////////// Acknowledgments ix Introduction: Th e Screenplay and Authorship in Adaptation 1 jack boozer PART I HOLLYWOOD’S “ACTIVIST” PRODUCERS AND MAJOR AUTEURS DRIVE THE SCRIPT 31 1 Mildred Pierce: A Troublesome Property to Script 35 albert j. lavalley 2 Hitchcock and His Writers: Authorship and Authority in Adaptation 63 thomas leitch 3 From Traumnovelle (1927) to Script to Screen—Eyes Wide Shut (1999) 85 jack boozer PART II SCREENPLAY ADAPTED AND DIRECTED BY 107 4 Private Knowledge, Public Space: Investigation and Navigation in Devil in a Blue Dress 111 mark l. berrettini 5 “Strange and New . . .”: Subjectivity and the Ineff able in Th e Sweet Hereafter 131 ernesto r. acevedo-muñoz PART III WRITER AND DIRECTOR COLLABORATIONS: ADDRESSING GENRE, HISTORY, AND REMAKES 157 BBoooozzeerr BBooookk11FF..iinnddbb vviiii 55//99//0088 1100::4455::4444 AAMM viii contents 6 Adaptation as Adaptation: From Susan Orlean’s Th e Orchid Th ief to Charlie (and “Donald”) Kaufman’s Screenplay to Spike Jonze’s Film 161 frank p. tomasulo 7 From Obtrusive Narration to Crosscutting: Adapting the Doubleness of John Fowles’s Th e French Lieutenant’s Woman 179 r. barton palmer 8 Th e Th ree Faces of Lolita, or How I Learned to Stop Worrying and Love the Adaptation 203 rebecca bell-metereau 9 Traffi c/Traffi k: Race, Globalization, and Family in Soderbergh’s Remake 229 mark gallagher PART IV VARIATIONS IN SCREENWRITER AND DIRECTOR COLLABORATIONS 253 10 Adapting Nick Hornby’s High Fidelity: Process and Sexual Politics 257 cynthia lucia 11 Adaptable Bridget: Generic Intertextuality and Postfeminism in Bridget Jones’s Diary 281 shelley cobb 12 “Who’s Your Favorite Indian?” Th e Politics of Representation in Sherman Alexie’s Short Stories and Screenplay 305 elaine roth Notes on Contributors 325 Name and Title Index 329 BBoooozzeerr BBooookk11FF..iinnddbb vviiiiii 55//99//0088 1100::4455::4444 AAMM ACKNOWLEDGMENTS /////////////////////////////////////////// I want to recognize in particular my colleagues whose work appears in these pages. Th eir devotion to the task and sustained goodwill have made the com- pletion of this book a challenging and pleasurable campaign. Th is also applies to editor Jim Burr and the fi ne staff at the University of Texas Press, and to scholars Arthur M. Eckstein, Martha Nochimson, and Kelly Hankin. I was further aided by two excellent graduate assistants, Harper Cossar, who has just completed his doctoral degree in fi lm in our Moving Image Studies pro- gram at Georgia State University and Kristopher Cannon. Th e publisher and I would also like to gratefully acknowledge the permis- sion granted to reproduce the following copyrighted material in this book: Chapter 1: Albert J. LaValley, “A Troublesome Property to Script.” Intro- duction to Mildred Pierce in the Wisconsin/Warner Brothers Screenplay Series. Copyright © 1980. Reprinted by permission of Th e University of Wis- consin Press. (Th is chapter does not include the fi nal three sections of the original article.) Chapter 4: “Private Knowledge, Public Space: Investigation and Naviga- tion in Devil in a Blue Dress,” by Mark Berrettini, from Cinema Journal 39:1, pp. 74–89. Copyright © 1999 by the University of Texas Press. All rights reserved. BBoooozzeerr BBooookk11FF..iinnddbb iixx 55//99//0088 1100::4455::4444 AAMM
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