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Contemporary works of art that remodel the canon not only create complex, hybrid and plural products but also alter our perceptions and understanding of their source texts. This is the dual process, referred to in this volume as “refraction”, that the essays collected here set out to discuss and analyse by focusing on the dialectic rapport between postmodernism and the canon. What is sought in many of the essays is a redefinition of postmodernist art and a re-examination of the canon in the light of contemporary epistemology. Given this dual process, this volume will be of value both to everyone interested in contemporary art—particularly fiction, drama and film—and also to readers whose aim it is to promote a better appreciation of canonical British literature.

English literature --- Motion pictures --- History and criticism --- History --- Postmodernism (Literature) --- Great Britain --- 20th century --- Cinéma et littérature --- English literature. --- Motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- British literature --- Inklings (Group of writers) --- Nonsense Club (Group of writers) --- Performing arts --- History and criticism. --- Theory, etc. --- Order of the Fancy (Group of writers) --- Adaptations cinematographiques et televisees --- Postmodernisme

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Writers have been deeply involved with film virtually from its inception in the 1890's down to the present moment. Their involvement is a story of transition from wonder and optimism about the new medium to a gradual disenchantment and a growing tendency to regard cinema as a destructive rival rather than a creative partner. Authors on Film reflects the wide range of attitudes toward film as the world 's most celebrated writers candidly express their opinions. The articles include studies of the silent film and the transition to sound, general statements on the film medium and the film-maker, discussions of the problems of screenwriting, and descriptions of the Hollywood scene, past and present. Among the thirty- five contributors are James Baldwin, Bertolt Brecht, Jean Cocteau, John Dos Passos, T. S. Eliot, William Faulkner, F. Scott Fitzgerald, Andre Gide, Maxim Gorky, Aldous Huxley, Jack Kerouac, Thomas Mann, Somerset Maugham, Jean-Paul Sartre, Bernard Shaw, Upton Sinclair, Leo Tolstoy, H. G. Wells, and Virginia Woolf.

Motion pictures. --- Motion pictures and literature. --- Cinéma. --- Cinéma et littérature. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Literature and motion pictures --- Moving-pictures and literature --- Literature --- History and criticism --- Cinema et litterature. --- Cinema. --- Film: styles & genres

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'It wasn't as good as the book' - this is the response to many a film adaptation, and even the starting point of many film reviews. Novel to Film is the first sytematic theoretical account of the process by which the great (and not so great) works of literature are transformed into the good, bad (sometimes ugly) but always distinctive medium of cinema. Drawing upon recent relevant literary and film theory, the book provides careful analysis of the theory and practice of metamorphosis. The Scarlet Letter, Random Harvest, Great Expectations, Daisy Miller and Cape Fear provide case studies which represent a range of fiction and cinematic practice.

Literary semiotics --- Film --- Film adaptations. --- Adaptations cinématographiques --- Adaptation cinématographique --- --Cinéma --- --Littérature --- --Film adaptations --- 791.43 --- Filmkunst. Films. Cinema --- 791.43 Filmkunst. Films. Cinema --- Adaptations cinématographiques --- Film adaptations --- Adaptations, Film --- Books, Filmed --- Filmed books --- Films from books --- Literature --- Motion picture adaptations --- Motion pictures --- Adaptations --- Cinéma --- Littérature --- HAWTHORNE (NATHANIEL), 1804-1864 --- HILTON (JAMES) --- DICKENS (CHARLES), 1812-1870 --- JAMES (HENRY), 1843-1916 --- MacDONALD (JOHN) --- CINEMA ET LITTERATURE --- ADAPTATIONS CINEMATOGRAPHIQUES ET TELEVISEES --- THE SCARLET LETTER --- RANDOM HARVEST --- GREAT EXPECTATIONS --- DAISY MILLER --- CAPE FEAR

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Considérée comme un problème de mise en scène, la lettre au cinéma est un motif propice à stimuler l’imagination des cinéastes. Qu’elle soit le motif privilégié d’un cinéaste comme Max Ophuls ou d’un genre comme le mélodrame hollywoodien, l’objet de documentaires à la gloire du General Post Office britannique ou l’occasion de poèmes chez Tony Harrison, envoyée de façon anonyme dans la Treizième lettre, perdue dans Retour à Cold Mountain ou déchirée dans Sueurs froides, la lettre se révèle un agent dramatique à part entière. Jouant des écarts spatiotemporels permettant toutes sortes de circulations spatiales ou signifiantes, elle instaure un mode de communication spécifique au sein du film mais aussi avec le spectateur. Si l’adaptation de récits épistolaires à l’écran reste une gageure, certains cinéastes n’hésitent pas à concevoir leur film comme une lettre adressée à l’absent, que ce soit le père défunt chez Nathaniel Kahn, Dieu chez Neil Jordan ou le futur spectateur chez Jonas Mekas. L’écriture épistolaire rejoint ici celle du journal intime, toutes deux centrées sur l’écriture de soi dans le moment présent. De la missive insérée dans le film au film conçu comme lettre, les articles de ce recueil proposent donc une exploration de l’écriture épistolaire à l’écran dans le domaine du cinéma anglophone, jusqu’à la signature et autres inscriptions du nom propre, clôture de l’identité et du courrier.

Letters in motion pictures --- Motion pictures and literature --- Lettres (Genre littéraire) au cinéma --- Cinéma et littérature --- Congresses --- Congrès --- Motion pictures --- Study and teaching --- Music, Dance, Drama & Film --- Film --- 82:791.43 --- Literatuur en film --- 82:791.43 Literatuur en film --- Lettres (Genre littéraire) au cinéma --- Cinéma et littérature --- Congrès --- Motion pictures - Study and teaching --- correspondance --- mise en scène --- cinéma --- Écriture --- Cinéma --- Texte, Théorie du --- Au cinéma --- Esthétique --- Et le cinéma

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This book tells the story of a generation of writers who were passionately engaged with politics and with cinema exploring the rise and fall of a distinct tradition of cinematic literature.

Politics in motion pictures. --- Motion pictures and literature. --- Europe --- History --- European literature --- Civilization --- Politics and literature. --- Literature --- Literature and politics --- Literature and motion pictures --- Moving-pictures and literature --- Barbarism --- Civilisation --- Auxiliary sciences of history --- Culture --- World Decade for Cultural Development, 1988-1997 --- History and criticism. --- Political aspects --- Motion pictures and literature --- Motion pictures --- Politics and literature --- Modernism (Literature) --- Political aspects. --- Crepuscolarismo --- Literary movements --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cinéma et littérature --- Cinéma et politique