IntroductionPart I
Chapter 1: Defining the Avant-Garde Film
Chapter 2: Adaptation Theory and Practice
Chapter 3: Appropriation
Chapter 4: The Exploitative Adaptation
Chapter 5: Why Avant-garde?Part II
Chapter 6: A Brief Narrative History of Avant-Garde Adaptation or,
Some Instances of Avant-Garde AdaptationPart III - Case Studies
Chapter 7: The Fall of the House of Usher
Chapter 8: Scorpio Rising
Chapter 9: Fruit of Paradise
Chapter 10: Hitler, A Film from Germany
Chapter 11: Street of Crocodiles
Chapter 12: The Dante Quartet
Chapter 13: Alice
Chapter 14: Prospero's Books
Chapter 15: Wisconsin Death Trip
Chapter 16: Specters of the Spectrum
Chapter 17: Dracula, Pages from a Virgin's DiaryConclusionAppendix:
Some Avant-Garde AdaptationsBibliographyIndex
Providing a fresh angle on adaptation studies, this study looks at how avant-garde directors and filmmakers have treated literary works in distinct ways.
Providing a fresh angle on adaptation studies, this study looks at how avant-garde directors and filmmakers have treated literary works in distinct ways.
William Verrone is Assistant Professor of Film and Literature at the University of North Alabama. He has published on a wide range of subjects, from Disney to Nick Cave and from Terry Gilliam to Ken Russell.
With a certain amount of historical irony, adaptation studies have,
in recent years, become a subtle, dynamic, and complex centerpiece
in contemporary film and media studies. As the range of this work
expands, new areas and issues continue to be explored, and
Verrone's wide-ranging study of adaptation and the avant-garde is a
long needed and exciting contribution to the intellectual energy of
the field.
*Timothy Corrigan, Professor of Cinema Studies, English, and
History of Art, University of Pennsylvania, USA, and author of The
Essay Film: From Montaigne, After Marker*
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