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Table of ContentsContents
Preface
Acknowledgments
Introduction: André Bazin’s Position in Cinema’s Literary Imagination
PART ONE. ADAPTATION IN THEORY
1. Preview: A Postwar Renewal of Novel and Cinema
2. André Malraux, Espoir, or Style in Cinema
3. Cinema as Digest
4. Critical Stance: Defense of Adaptation
5. Cinema and Novel
6. Literature, is it a Trap for Cinema?
7. A Question on the Baccalaureate Exam: The Film-Novel Problem
8. Lamartine, Jocelyn: Should you Scrupulously Adapt such a Poem?
9. Roger Leenhardt has Filmed a Novel he never Wrote 106
10. Alexandre Astruc’s Les Mauvaises Rencontres (Bad Liaisons): Better than a Novel
11. Colette, Le Blé en herbe: Uncertain Fidelity
12. Rereading Stendhal’s Le Rouge et le Noir (The Red and the Black)
through a Camera Lens
13. Of Novels and Films: M. Ripois with or without Nemesis
14. Stendhal’s Mina de Vanghel, Captured beyond Fidelity
15. Mina de Vanghel: More Stendhalian than Stendhal
PART TWO. ADAPTING CONTEMPORARY FICTION
A. Best Sellers from Abroad
16. On William Saroyan’s The Human Comedy
17. Billy Wilder, The Lost Weekend
18. Hollywood Can Translate Faulkner, Hemingway, and Caldwell
19. John Ford, How Green Was My Valley
20. John Ford, The Grapes of Wrath, from Steinbeck
21. John Ford, Tobacco Road, from Erskine Caldwell
22. Theodore Dreiser’s An American Tragedy becomes A Place in the Sun
23. D. H. Lawrence, Lady Chatterley’s Lover
24. Has Hemingway influenced Cinema?
25. Ernest Hemingway, The Snows of Kilimanjaro
26. Ernest Hemingway, A Farewell to Arms
27. Graham Greene’s The Power and the Glory becomes John Ford’s The Fugitive
28. Graham Greene, Brighton Rock
29. Graham Greene and Carol Reed, The Fallen Idol
30. Graham Greene, The Heart of the Matter
31. Joseph Conrad, Outcast of the Islands, filmed by Carol Reed
32. Arthur Miller’s The Crucible and Nikos Kazantzakis’ He Who Must Die
are now Two Great French Films
33. Franz Kafka on Screen: Clouzot’s Les Espions (The Spies)
B. Fiction from France
34. Avec André Gide, by Marc Allégret
35. The Universe of Marcel Aymé on Screen: La Belle Image
36. Colette, Le Blé en herbe: The Ripening Seed . . . has Matured
37. Marguerite Duras, Barrage contre la Pacifique, adapted by René Clément
38. Françoise Sagan, Bonjour Tristesse, adapted by Otto Preminger
PART THREE: ADAPTING TO THE CLASSICS
A. The Nineteenth-Century Novel from Abroad
39. Charlotte Brontë, Jane Eyre
40. Charles Dickens, Oliver Twist
41. Nikolai Gogol, The Overcoat
42. Herman Melville, Moby Dick
43. Stephen Crane, The Red Badge of Courage
44. Leo Tolstoy, Anna Karenina
45. Fyodor Dostoevsky, The Brothers Karamazov
46. Dostoevsky, Crime and Punishment, alongside Tolstoy, War and Peace
B. French Classics on the French Screen
47. Abbé Prévost, Manon Lescaut, adapted by Clouzot
48. Honoré de Balzac, Eugénie Grandet
49. Stendhal, Le Chartreuse de Parme (The Charterhouse of Parma)
50. Stendhal, Le Rouge et le Noir (The Red and the Black): Tastes and Colors
51. Victor Hugo, Les Misérables
52. Victor Hugo, Notre-Dame de Paris, alongside Jules Verne, Michel Strogoff
53. Zola and Cinema: Pour une nuit d’amour (For a Night of Love)
54. Émile Zola, Thérèse Raquin, adapted by Marcel Carné
55. Émile Zola’s La Bête humaine becomes Fritz Lang’s Human Desire
56. Émile Zola’s L’Assommoir becomes René Clément’s Gervaise
57. Guy de Maupassant, Une vie (A Life), adapted by Alexandre Astruc
58. Maupassant Stories adapted by Max Ophüls: Le Plaisir
59. Maupassant Stories adapted by André Michel: Trois femmes
60. French Cinema faces Literature addendum. two long essays on adaptation,
translated by hugh gray
61. Journal d’un curé de campagne and the Stylistics of Robert Bresson
62. In Defense of Mixed Cinema
Appendix: Chronological List of Articles
Index of Films
Index of Proper Names
Index of Topics and Concepts
