Table of Contents
Foreword by Liz Jones
Introduction
Part I Contextualisation and Methodology
A: Contextualisation of Emily Brontë's Novel
Chapter 1: Myth, the Fantastic and Wuthering Heights
Chapter 2: Emily Brontë and Her Local Sphere
B: From the Novel’s to the Films’ Intertextuality
Chapter 3: The Myth of Psyche and the Fairy Tale of Beauty and the Beast
Chapter 4: Tristan and Iseult
Chapter 5: Georges Bataille and the Literature of Evil
Chart of the Mythical Components (MCs), Bataillan
Themes (BTs) and Planar/Gothic Figures
C: Adapting the Adaptation Discourse to Our Corpus
Chapter 6: Adaptation, Translation and the Unconscious of the Text
Three Relevant F-Words: Fidelity, Foreignisation and Figure
Flirting with the Dynamic Structures of the Imaginary:
Gilbert Durand
Improvised Chart of the Heroic, Mystical and Dramatic Structures
Chapter 7: From Film Adaptation to Cultural Translation
After Babel: George Steiner
After Babel and Wuthering Heights
Part II The British Silent Era – Looking Back at a Lost Picture
A: Wuthering Heights and the Written Evidence
Chapter 8: Absence of Footage
Chapter 9: Ideal’s Programme – Adaptation seen as Cultural Practice
Chapter 10: Ideal’s Programme – Gazing at Wuthering Heights, the Film
Chapter 11: Ideal’s Programme – Gazing at Wuthering Heights, the Novel
Chapter 12: Ideal’s Programme – The Gender of the Author
Chapter 13: Ideal’s Programme – Fidelity through the Locations
Chapter 14: Ideal’s Synopsis – Melodrama and Pictorialism
Chapter 15: Ideal’s Synopsis – The ‘Ephemera’ of the Lively Arts
B: Recomposition of Wuthering Heights: An Insight into the Hermeneutic of ‘Incursion’
Chapter 16: A Modern (Silent) Motion Picture
Chapter 17: Wuthering Heights and Albert Victor Bramble
Chapter 18: Wuthering Heights seen through the Bramble-Stannard Partnership and Mr. Gilfil’s Love Story
Chapter 19: Hitchcock’s Hidden Collaborator, Eliot Stannard
Chapter 20: Wuthering Heights (1920), Poetic Realism and Hitchcock-Stannard’s The Manxman (1929)
Part III The Heritage and Cross-Heritage Transformations
A: From the Cinema Classics to the Televisual Transformations
Chapter 21: L’Amour Fou (1933–1953)
Chapter 22: L’Amour Mercenaire (1938–1939)
Chapter 23: Audience Response in the UK (1939–1978): An Hermeneutic of ‘Re-Appropriation’
The BBC Teleplays
The Lindsay Anderson’s Film Project (1963–1965)
The BBC2 Classic Serials
B: The ‘Period’ Dramas and the ‘Anti-Period’ Dramas: Reflections on Cultural ‘Accuracy’ and Cultural ‘Displacement’
Chapter 24: The British Period Dramas – From One Generation to the Next, from Hollywood to ITV: Accuracy and Compensation
Tilley-Fuest (1970)
Interview with Patrick Tilley
Interview with Bob Fuest
Kosminsky-Devlin (1992) and Skynner-McKay (1998)
Kosminsky-Devlin (1992)
Interview with Peter Kosminsky
Skynner-McKay (1998)
Interview with David Skynner
Bowker-Giedroyc (2009)
Chapter 25: The Anti-Period Dramas in Britain and Abroad: Displacement and Compensation
Wainwright-Sheppard (2002)
Interview with Sally Wainwright
Rivette-Schiffman-Bonitzer (1985)
Interview with Jacques Rivette
Yoshida-Bataille (1988)
Interview with Philippe Jacquier
Arnold-Hetreed (2011)
Simplified Chart of the Dynamic Structures of Wuthering Heights
