If the past is a foreign country, Hollywood is another planet: they sure do things differently there. Just how differently is the predictable and tedious obsession of far too much adaptation scholarship, fixated on the degree of fidelity of a film to its adapted literary Urtext. This practice, boring and unimaginative, diverts the attention from what art can tell us about ourselves to what it can tell us about the colour of the breeches worn in the novel by that odd fellow in the twelfth chapter. Thomas Leitch, for one, is sick of it, and he has set out to shake up film scholarship and inject new life into the study of adaptation in this wide-ranging and acutely observed treatment.
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