Books in Motion Contemporary Cinema 2 Series Editors Ernest Mathijs & Steven Jay Schneider Editorial Advisory Board: Martin Barker (University of Wales-Aberystwyth) Wanda Bershen (Founder, Red Diaper Productions) Mark Betz (University of London, King’s College) David Bordwell (University of Wisconsin-Madison) Sean Cubitt (University of Waikato, New Zealand) Roger Garcia (Former Director, Hong Kong International Film Festival) Joke Hermes (University of Amsterdam) Jim Hillier (University of Reading) Mark Jancovich (University of Nottingham) Douglas Kellner (University of California-Los Angeles) Soyoung Kim (Korean National University of Arts) Amy Kronish (Consultant in Jewish & Israeli Film) Barney Oldfield (General Manager, Angelika Entertainment) Murray Pomerance (Ryerson University, Canada) Michael Renov (University of Southern California) David Schwartz (Chief Curator of Film, American Museum of the Moving Image) M.M. Serra (Executive Director, Film-Makers Cooperative) J. David Slocum (New York University) Christina Stojanova (Wilfrid Laurier University, Canada) Kristin Thompson (University of Wisconsin-Madison) Contemporary Cinema is a series of edited volumes and single-authored texts focusing on the latest in film culture, theory, reception and interpretation. There is a concentration on films released in the past fifteen years, and the aim is to reflect important current issues while pointing to others that to date have not been given sufficient attention. Books in Motion Adaptation, Intertextuality, Authorship Edited by Mireia Aragay Amsterdam - New York, NY 2005 Institutional support: The Department of Theatre, Film and Television Studies at the University of Wales-Aberystwyth The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 90-420-1957-3 ISSN: 1572-3070 ©Editions Rodopi B.V., Amsterdam - New York, NY 2005 Printed in the Netherlands For Víctor, Tomàs and Òscar This page intentionally left blank CONTENTS List of Illustrations 9 Acknowledgements 10 Introduction Reflectionto Refraction: Adaptation StudiesThen andNow 11 MireiaAragay Paradoxes of Fidelity Harry Potter and the Fidelity Debate 37 DeborahCartmell and Imelda Whelehan What doesHeathcliffLookLike? Performance in Peter Kosminsky’s VersionofEmilyBrontë’sWuthering Heights 51 Sara Martín Dirk Bogarde’s Sidney Carton—More Faithful to the Characterthan Dickens Himself? 69 John Style Authors, Auteurs, Adaptation Once Upon an Adaptation:Traces of the Authorial on Film 89 Karen Diehl The Adapter as Auteur: Hitchcock, Kubrick, Disney 107 Thomas Leitch Adaptation and Autobiographical Auteurism: A Look at Filmmaker/Writer Doris Dörrie 125 MargaretMcCarthy Contexts,Intertexts, Adaptation John Huston’s vs.JamesJoyce’sThe Dead 145 ManuelBarbeitoVarela Politicising Adaptation: Re-historicising South African Literature through Fools 163 Lindiwe Dovey Adaptation, Appropriation, Retroaction: Symbolic Interaction withHenry V 181 JoséÁngelGarcía Landa Inf(l)ectingPride and Prejudice:Dialogism, Intertextuality, and Adaptation 201 MireiaAragay and Gemma López Beyond Adaptation Beyond Adaptation: Frankenstein’s Postmodern Progeny 223 Pedro JavierPardoGarcía Me,Me,Me: Film Narrators and the Crisis of Identity 243 CelestinoDeleyto Playing in a Minor Key:TheLiterary Past through the Feminist Imagination 263 BelénVidal Notes on Contributors 287 List of Illustrations FIG. 1 A retroactive avatar of Henry V’s band of brothers: Alexander the Pig foreshadows Bush’s Desert Storm II in Oliver Stone’sAlexander the Great (2004) 196 FIG.2 Colin Firth’s ‘corpo-real’ Darcy ponders plunge into 210 pond FIG.3 Darcy’sandCleaver’sfightparodiesromanceconven- 214 tions FIG.4 All by myself: Bridget Jones narrates the female 250 lonelyself FIG.5 Top five all time break-ups: Rob-narrator enlists the 255 spectator to his revenge against and later redemption by girlfriendLaura FIG.6 What men think women think: Rob’s behaviour 257 shocksLiz… in Rob’s fantasy FIG. 7 Thescene of writing in MansfieldPark 273 FIG. 8 Adapting history in MansfieldPark 274 FIG. 9 Rosina’s look in The Governess 278 FIG. 10 T hescene of fantasy from The Governess 285