June 2013
Intermediate to advanced
268 pages
9h 21m
English
Content preview from Adaptations
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11
INTRODUCTION
As in the previous section, this part of the book moves from (what some may regard as) the sublime to the ridiculous, beginning with Virginia Woolf — who discretely ‘borrows’ cinematic codes in her writings — and concluding with Walt Disney — whose productions unashamedly bury their literary sources, giving priority to the visual image and the commodification of the Disney ‘product’.
The following chapters contain a wide range of issues, each focusing on certain aspects and forms of adaptation:
| Chapter 12 | Virginia Woolf's ‘cinematic’ writing and Sally Potter's Orlando (1993). |
| Chapter 13 | Jane Campion's ‘literary cinema’– The Piano (1993), The Portrait of a Lady (1996). |
| Chapter 14 | Adaptations from television ... |
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I'm always learning. So when I got on to O'Reilly, I was like a kid in a candy store. There are playlists. There are answers. There's on-demand training. It's worth its weight in gold, in terms of what it allows me to do.