Description
Book SynopsisThis collection presents new essays in the complex field of French literary adaptation. Using a variety of textual and interpretive approaches, it sheds light on issues of gender, sexuality, class, politics and social conventions while acknowledging a range of contexts, from the commercial to the archival and the aesthetic. The chapters, written by eminent international scholars, run chronologically from
The Count of Monte Cristo through Proust and
Bonjour, Tristesse to Philippe Djian’s
Oh… (adapted for the screen as
Elle). Collectively, they fill a need for contemporary discussions on the significance of France’s literary representations in the history of global cinema.
Table of ContentsIntroduction: screening French literature - Homer B. Pettey and R. Barton Palmer
2 The spectacle of Monte Cristo - Jennifer L. Jenkins
3 Adultery and adulteration in film versions of Flaubert's Madame Bovary - Colin Davis
4 For the first time on screen together: Madame Bovary and Les Misérables in 1934 - Dudley Andrew
5 The Americanization of Victor Hugo: Darryl F. Zanuck's Les Misérables (1935) - Guerric DeBona
6 From heterotopia to metatopia: staging Carmen's death - Phil Powrie
7 From the Recherche on film toward a Proustian cinema - Steven Ungar
8 Otto Preminger's Bonjour, Tristesse: a tale of three women, if not more - R. Barton Palmer
9 Adapting Pagnol and Provence - Jeremy Strong
10 Maigret on screen: stardom and literary adaptation - Ginette Vincendeau
11 The making and remaking of Thérèse Desqueyroux: one novel, two films - Susan Hayward
12 Elle (2016), rape, and adaptation - Homer B. Pettey
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