Notes on Contributors.

Preface.

Acknowledgments.

1. Novels, Films, and the Word/Image Wars: Kamilla Elliott (University of California at Berkeley).

2. Sacred Word, Profane Image: Theologies Of Adaptation: Ella Shohat (New York University).

3. Gospel Truth? From Cecil B. DeMille to Nicholas Ray: Pamela Grace (New York University).

4. Transécriture and Narrative Mediatics: The Stakes of Intermediality: André Gaudreault (University of Montreal) and Philippe Marion.

5. The Look: From Film to Novel: An Essay in Comparative Narratology: Francois Jost (Sorbonne).

6. Adaptation and Mis-adaptations: Film, Literature, and Social Discourses: Francesco Casetti (Catholic University of the Sacred Heart).

7. The Invisible Novelty: Film Adaptations in the 1910s: Yuri Tsivian (University of Chicago).

8. Italy and America: Pinocchio's First Cinematic Trip: Raffaele De Berti (University of Milan).

9. The Intertextuality of Early Cinema: A Prologue to Fantomas: Tom Gunning (University of Chicago).

10. Cosmopolitan Projections: World Literature on Chinese Screens: Zhang Zhen (New York University).

11. The Rhetoric of Interruption: Allen Weiss (New York University).

12. Visualizing The Voice: Joyce, Cinema And The Politics Of Vision: Luke Gibbons (University of Notre Dame).

13. Adapting Cinema to History: a Revolution in the Making: Dudley Andrew (Yale University).

14. Photographic Verismo, Cinematic Adaptation, and the Staging of a Neorealist Landscape: Noa Steimatsky (Yale University).

15. The Devil's Parody: Horace McCoy's Appropriation and Refiguration of Two Hollywood Musicals: Charles Musser (Yale University).

16. The Sociological Turn of Adaptation Studies: The Example of Film Noir: R. Barton Palmer (Clemson University).

17. Adapting Farewell, My Lovely: William Luhr (Columbia University).

18. Daphne du Maurier and Alfred Hitchcock: Richard Allen (New York University).

19. Running Time: The Chronotope of The Loneliness of the Long-Distance Runner: Peter Hitchcock (Baruch College, CUNY).

20. From Libertinage to Eric Rohmer: Transcending 'Adaptation': Maria Tortajada (University of Lausanne).

21. The Moment of Portraiture: Scorsese Reads Wharton: Brigitte Peucker (Yale University).

22. The Talented Post-structuralist: Hetero-masculinity, Gay Artifice, and Class Passing: Chris Straayer (New York University).

23. From Bram Stoker's Dracula to Bram Stoker's Dracula: Margaret Montalbano (New York University).

24. The Bible as Cultural Object[s] in Cinema: Gavriel Moses (University of California at Berkeley).

25. All's Wells that Ends Wells: Apocalypse and Empire in The War of the Worlds: Julian Cornell (New York University).

Index