Contents Preface Acknowledgments Introduction: André Bazin''s Position in Cinema''s Literary Imagination PART ONE. ADAPTATION IN THEORY 1. Preview: A Postwar Renewal of Novel and Cinema 2. André Malraux, Espoir, or Style in Cinema 3. Cinema as Digest 4. Critical Stance: Defense of Adaptation 5. Cinema and Novel 6. Literature, is it a Trap for Cinema? 7.
A Question on the Baccalaureate Exam: The Film-Novel Problem 8. Lamartine, Jocelyn: Should you Scrupulously Adapt such a Poem? 9. Roger Leenhardt has Filmed a Novel he never Wrote 106 10. Alexandre Astruc''s Les Mauvaises Rencontres (Bad Liaisons): Better than a Novel 11. Colette, Le Blé en herbe: Uncertain Fidelity 12. Rereading Stendhal''s Le Rouge et le Noir (The Red and the Black) through a Camera Lens 13. Of Novels and Films: M. Ripois with or without Nemesis 14.
Stendhal''s Mina de Vanghel, Captured beyond Fidelity 15. Mina de Vanghel: More Stendhalian than Stendhal PART TWO. ADAPTING CONTEMPORARY FICTION A. Best Sellers from Abroad 16. On William Saroyan''s The Human Comedy 17. Billy Wilder, The Lost Weekend 18. Hollywood Can Translate Faulkner, Hemingway, and Caldwell 19. John Ford, How Green Was My Valley 20.
John Ford, The Grapes of Wrath, from Steinbeck 21. John Ford, Tobacco Road, from Erskine Caldwell 22. Theodore Dreiser''s An American Tragedy becomes A Place in the Sun 23. D. H. Lawrence, Lady Chatterley''s Lover 24. Has Hemingway influenced Cinema? 25. Ernest Hemingway, The Snows of Kilimanjaro 26.
Ernest Hemingway, A Farewell to Arms 27. Graham Greene''s The Power and the Glory becomes John Ford''s The Fugitive 28. Graham Greene, Brighton Rock 29. Graham Greene and Carol Reed, The Fallen Idol 30. Graham Greene, The Heart of the Matter 31. Joseph Conrad, Outcast of the Islands, filmed by Carol Reed 32. Arthur Miller''s The Crucible and Nikos Kazantzakis'' He Who Must Die are now Two Great French Films 33. Franz Kafka on Screen: Clouzot''s Les Espions (The Spies) B.
Fiction from France 34. Avec André Gide, by Marc Allégret 35. The Universe of Marcel Aymé on Screen: La Belle Image 36. Colette, Le Blé en herbe: The Ripening Seed . has Matured 37. Marguerite Duras, Barrage contre la Pacifique, adapted by René Clément 38. Françoise Sagan, Bonjour Tristesse, adapted by Otto Preminger PART THREE: ADAPTING TO THE CLASSICS A. The Nineteenth-Century Novel from Abroad 39.
Charlotte Brontë, Jane Eyre 40. Charles Dickens, Oliver Twist 41. Nikolai Gogol, The Overcoat 42. Herman Melville, Moby Dick 43. Stephen Crane, The Red Badge of Courage 44. Leo Tolstoy, Anna Karenina 45. Fyodor Dostoevsky, The Brothers Karamazov 46. Dostoevsky, Crime and Punishment, alongside Tolstoy, War and Peace B.
French Classics on the French Screen 47. Abbé Prévost, Manon Lescaut, adapted by Clouzot 48. Honoré de Balzac, Eugénie Grandet 49. Stendhal, Le Chartreuse de Parme (The Charterhouse of Parma) 50. Stendhal, Le Rouge et le Noir (The Red and the Black): Tastes and Colors 51. Victor Hugo, Les Misérables 52. Victor Hugo, Notre-Dame de Paris, alongside Jules Verne, Michel Strogoff 53. Zola and Cinema: Pour une nuit d''amour (For a Night of Love) 54.
Émile Zola, Thérèse Raquin, adapted by Marcel Carné 55. Émile Zola''s La Bête humaine becomes Fritz Lang''s Human Desire 56. Émile Zola''s L''Assommoir becomes René Clément''s Gervaise 57. Guy de Maupassant, Une vie (A Life), adapted by Alexandre Astruc 58. Maupassant Stories adapted by Max Ophuls: Le Plaisir 59. Maupassant Stories adapted by André Michel: Trois femmes 60. French Cinema faces Literature addendum. two long essays on adaptation, translated by hugh gray 61.
Journal d''un curé de campagne and the Stylistics of Robert Bresson 62. In Defense of Mixed Cinema Appendix: Chronological List of Articles Index of Films Index of Proper Names Index of Topics and Concepts.