Adaptations

11

INTRODUCTION

Deborah Cartmell

 

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 ...