Titlebook: Literature, Film, and Their Hideous Progeny; Adaptation and ElasT Julie Grossman Book 2015 The Editor(s) (if applicable) and The Author(s)

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Lightening Up: Reappearing Hearts of Darknesst influences, “quiet adaptations” (see Chapter 5), or intertextual resonances—the subjects, topics, and texts I address in this book generate meaning through their relationships. Such meaning is not limited to the varied perspectives on human experience and culture these works establish, but extends

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The Quiet Presence of “The Yellow Wallpaper” in Todd Haynes’s Film d and identity that is in conversation with the . sequence discussed in the previous chapter. In this chapter I want to posit another of Haynes’s films, . (1995), as the “hideous progeny” of Charlotte Perkins Gilman’s 1892 short story “The Yellow Wallpaper,” a classic American text about selfhood an

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Musical Theater and Independent Filmts or try to recreate them but shift, sometimes aggressively, our perspective on another text, just as good critical readings choose a point of emphasis in relation to their object(s) of inquiry. Adaptation is an act of independence that acknowledges what is most interesting to the adapter about a p

Thymus

Adapting Time and Place: Avant-Garde Storytelling and Immersive Theaterorting the show’s attempt to create a holistic mood that goes beyond a traditional performance “stage,” “SLEEP NO MORE” is inscribed on the sidewalk yards away from the entrance to “The McKittrick,” which is the character of the dormant hotel in which the show takes place (Figure 7.1).

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Time Will Tell: Adaptation Going Forward and Film at the Art Museum (Christian Marclay’s ,)vision, stretches the idea of adaptation into the realm of avant-garde art. Synching the clocks and watches featured in each clip to real time over the course of a 24-hour period, . exemplifies an idea of adaptation that fully divorces the process of revisiting earlier texts from a dyadic model (ori

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