Adapting Endings from Book to Film

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La mise en scène de l’intime : le cas particulier de l’adaptation

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Apocalypse Noir

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Loops, bottles, and clips: Structuring brevity in American television

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"Borders in/of Adaptations"

Book Review: Hollywood by Hollywood: the backstudio picture and the mystique of making moviesby Steve Cohan

Re-Made in America: Naming in Great Expectations (Cuaron, 1998)

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Margaret Atwood and Adaptation: The Handmaid’s Tale and Beyond

Margaret Atwood has long been appreciated for her ardent defense of Canadian authors and her genre-bending fiction, essays and poetry. However, an aspect of her work that has perhaps been less thoroughly examined is her work both as adaptor and as source for adaptation in media as varied as opera, television, film, or comic books. Recent critically acclaimed television adaptations of the novels The Handmaid’s Tale (Hulu) and Alias Grace (Amazon) have rightfully focused attention on these works, but Atwood’s fiction has long been a source of inspiration for artists of various media, a seeming corollary to Atwood’s own tendency to explore the possibilities of media (graphic novels), genres (s…

Death is the Maiden: Arya Stark and Brienne of Tarth in Game of Thrones

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Borders in/of Adaptation (Association of Adaptation Studies)

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Stories of Adaptation: Changing Objects with Margaret Atwood

Short and sweet?: structuring humor and morality in American television

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Adapting Endings from Book to Screen

International audience; This book offers a new perspective on adaptation of books to the screen; by focusing on endings, new light is shed on this key facet of film and television studies. The authors look at a broad range of case studies from different genres, eras, countries and formats to analyse literary and cinematic traditions, technical considerations and ideological issues involved in film and television adaptions.The investigation covers both the ideological implications of changes made in adapting the final pages to the screen, as well as the aesthetic stance taken in modifying (or on the contrary, maintaining) the ending of the source text. By including writings on both film and …

Tales of Twisters and Blurring Boundaries: Borders in/of Adaptation

“The journey creates us. We become the frontiers we cross.”Salman Rushdie, “Step Across This Line”, p. 351 Taking its cue from Kate Newell’s analysis of the film as “culture-text” (Newell 2017), the cover illustration of this special issue of Interfaces devoted to “Borders in/of Adaptation” focuses on an iconic image from The Wizard of Oz (1939), as our intrepid outsiders journey through treacherous poppy fields before arriving at the Emerald City to see its all-powerful wizard, the ostensibl...

Merging the noir detective and teen drama/trauma: Veronica Mars

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The Picturesque and the Grotesque: The Importance of Setting in Moone Boy and Father Ted

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Moonlighting meets Noir

National audience

On the Road Again... Quand le cinéma reprend la route

International audience; Dès sa naissance, le cinéma est voyageur : attraction foraine avant de se muer en 7e art, fenêtre sur le monde, il embarque le spectateur dans des voyages immobiles. Que reste-t-il de ces origines voyageuses ? On retrouve souvent aujourd’hui à l’écran des voyages verticaux vers un ailleurs intérieur – utopique ou uchronique – : chez Walter Salles, Atom Egoyan, Ismaël Ferroukhi, Tommy Lee Jones, Sean Penn ou dans les séries télévisées qui jouent sur un autre paysage, celui de la mémoire du spectateur. À contre-courant des rêves des hippies, pourtant à l’origine du road movie, les films de route vont parfois de pair avec la quête d’une place dans la société ; partir In…

Littérature et séries

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The Man in the High Castle: Adaptation as Alternative History

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Investigating the CW

Mind the Gap: The Big House in Cinematic Representations of the Anglo-Irish War

It goes without saying that the Big House was intended to be a symbol: as more than one critic has remarked, these houses really were only “big” in comparison to the poverty of the lesser structures that surrounded them. They were to be a bastion for British and Anglo-Irish culture and a center for social and administrative interactions. In this sense, they straddled the gap between the towns of Dublin and London, whence their power came, and the villages to whom they administered: it is no coincidence that these garrisons of British power bore the brunt of Republican anger during the Troubles of 1919-1921. Examining two of the rare films to focus on the War of Independence from the perspec…