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 ...

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