Hollywood and Literature Criticism: Adaptations - Essay

Barry H. Leeds (essay date 1994)

(Twentieth-Century Literary Criticism)

SOURCE: Leeds, Barry H. “Tough Guy Goes to Hollywood.” In Take Two: Adapting the Contemporary American Novel to Film, edited by Barbara Tepa Lupack, pp. 154-68. Bowling Green: Bowling Green State University Popular Press, 1994.

[In the following essay, Leeds discusses the film adaptation of Norman Mailer's 1984 novel, Tough Guys Don't Dance, characterizing the cinematic version of this work an artistically superior work to the original.]

Norman Mailer's relationship with the world of film has grown throughout his career from passive and distant to active and quite intimate.

The earliest adaptations of his work—the movie versions of...

(The entire section is 5583 words.)

Alan David Vertrees (essay date 1997)

(Twentieth-Century Literary Criticism)

SOURCE: Vertrees, Alan David. “Sidney Howard and the Screenwriting of Gone with the Wind.” In Gone with the Wind and Hollywood Filmmaking: Selznick's Vision, pp. 21-53. Austin: University Press of Texas, 1997.

[In the following essay, Vertrees presents a detailed history and analysis of the screenwriting process for Margaret Mitchell's novel about the American Civil War, Gone with the Wind.]

A commonplace in film history asserts that motion pictures are only as good as the scripts upon which they are based. In fact, this truism is informed by a fundamental relationship that developed between the scenario and the screen. Preparation of a detailed filmscript...

(The entire section is 18444 words.)

Linda Troost and Sayre Greenfield (essay date 1998)

(Twentieth-Century Literary Criticism)

SOURCE: Troost, Linda and Sayre Greenfield. “Introduction: Watching Ourselves Watching.” In Jane Austen in Hollywood, edited by Linda Troost and Sayre Greenfield, pp. 1-11. Lexington: University Press of Kentucky, 2001.

[In the following essay, first published in 1998, Troost and Greenfield present an overview of several adaptations of Jane Austen's works for film and television.]

The past few years have seen a proliferation of Jane Austen adaptations. Between 1970 and 1986, seven feature-length films or television miniseries, all British, were produced based on Austen novels; in the years 1995 and 1996, however, six additional adaptations appeared, half of them...

(The entire section is 5329 words.)

Ken Gelder (essay date 1999)

(Twentieth-Century Literary Criticism)

SOURCE: Gelder, Ken. “Jane Campion and the Limits of Literary Cinema.” In Adaptations: From Text to Screen, Screen to Text, edited by Deborah Cartmell and Imelda Whelehan, pp. 157-71. London: Routledge, 1999.

[In the following essay, Gelder explores the relationship between literature and the cinema via an analysis of the movie The Piano, noting that even though the film was not an adaptation, it elicited critical analysis that designated it as “literary.”]

Jane Campion's film The Piano (1993) poses some interesting problems in terms of the relationship between literature and cinema. We can begin by noting that the film itself attracted the kind...

(The entire section is 7263 words.)

Nicholas Zurbrugg (essay date 1999)

(Twentieth-Century Literary Criticism)

SOURCE: Zurbrugg, Nicholas. “Will Hollywood Never Learn?: David Cronenberg's Naked Lunch.” In Adaptations: From Text to Screen, Screen to Text, edited by Deborah Cartmell and Imelda Whelehan, pp. 98-112. London: Routledge, 1999.

[In the following essay, Zurbrugg presents a critical analysis of David Cronenberg's adaptation of Naked Lunch by William Burroughs, theorizing that the film was a successful rendition of the text because of the collaborative nature of Burroughs and Cronenberg's relationship.]

My nephew … was not an author. … Very few of those employed in writing motion picture dialogue are. The executives of the studios...

(The entire section is 6136 words.)