Traditional critics of film adaptation generally assumed a) that the written text is better than the film adaptation because the plot is more intricate and the language richer when pictorial images do not intrude; b) that films are better when particularly faithful to the original; c) that authors do not make good script writers and should not sully their imagination by writing film scripts; d) and often that American films lack the complexity of authored texts because they are sourced out of Hollywood. The 'faithfulness' view has by and large disappeared, and intertextuality is now a generally received notion, but the field still lacks studies with a postmodern methodology and lens.Exploring Hollywood feature films as well as small studio productions, Adaptation Theory and Criticism explores the intertextuality of a dozen films through a series of case studies introduced through discussions of postmodern methodology and practice. Providing the reader with informative background on theories of film adaptation as well as carefully articulated postmodern methodology and issues, Gordon Slethaug includes several case studies of major Hollywood productions and small studio films, some of which have been discussed before (Age of Innocence, Gangs of New York, and Do the Right Thing) and some that have received lesser consideration (Six Degrees of Separation, Smoke, Smoke Signals, Broken Flowers, and various Snow White narratives including Enchanted, Mirror Mirror, and Snow White and the Huntsman). Useful for both film and literary studies students, Adaptation Theory and Criticism cogently combines the existing scholarship and uses previous theories to engage readers to think about the current state of American literature and film.

IntroductionChapter 1. Modernism/Postmodernism and Origin/Intertextual Play in Adaptation Theory Chapter 2. Adaptation, Surplus Value, and Supplementation in Six Degrees of Separation and Short Cuts 2.1 Surplus, Supplementation, and Transformation in John Guare's Six Degrees of Separation 2.2 E Pluribus Unum: Raymond Carver's Fiction and Robert Altman's Short Cuts Chapter 3. Intertextual Doubling in The Age of Innocence, Gangs of New York, and The Great Gatsby 3.1 Tribalization as Intertextual Symptom: Scorsese's The Age of Innocence and Gangs of New York 3.2 Ironized Intertextuality: The Age of Innocence and The Great GatsbyChapter 4. Freeplay, Citation, and Ethnocriticism: Single and Multiple Sources in Smoke Signals, Smoke, and Do the Right Thing 4.1 Ethnocriticism and Adaptation: Sherman Alexie's The Lone Ranger and Tonto Fistfight in Heaven and Chris Eyre's Smoke Signals 4.2 From Lee to Auster and Wang: Postmodern Indeterminacy and Racial Relations in Do the Right Thing and SMOKEChapter 5. Palimpsests and Bricolage: Playful and Serious Citation in Broken Flowers and Snow White's Offspring 5.1 Palimpsest, Play, and the Myth of Filiation in Broken Flowers: Clues, Signs, and Referential Mania 5.2 Snow White's Offspring: The Hyper-PalimpsestConclusionWorks CitedIndex