Queer/Adaptation: A Collection of Critical Essays (Palgrave Studies in Adaptation and Visual Culture)

This collection of essays illuminates the intersection of queer and adaptation. Both adaptation and queerness suffer from the stereotype of being secondary: to identify something as an adaptation is to recognize it in relation to something else that seems more original, more authentic. Similarly, to identify something as queer is to place it in relation to what is assumed to be “normal” or “straight.” This ground-breaking volume brings together fifteen original essays that critically challenge these assumptions about originality, authenticity, and value. The volume is organized in three parts: The essays in Part I examine what happens when an adaptation queers its source text and explore the role of the author/screenwriter/director in making those choices. The essays in Part II look at what happens when filmmakers push against boundaries of various kinds: time and space, texts and bodies, genres and formats. And the essays in Part III explore adaptations whose source texts cannot be easily pinned down, where there are multiple adaptations, and where the adaptation process itself is queer. The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, camp classics, and experimental texts, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap. Front Matter ....Pages i-xvii Queer/Adaptation: An Introduction (Pamela Demory)....Pages 1-13 Front Matter ....Pages 15-15 Emancipating Madame Butterfly (Nick Bamford)....Pages 17-31 Queering Dame Agatha Christie: Barry Sandler’s Camp Adaptation of The Mirror Crack’d (1980) (Tison Pugh)....Pages 33-47 The Queer Aesthetics of Tom Ford’s Film Adaptations: A Single Man and Nocturnal Animals (Scott F. Stoddart)....Pages 49-65 Hannibal: Beginning to Bloom (Mat Daniel)....Pages 67-86 Front Matter ....Pages 87-87 Moonlight, Adaptation, and Queer Time (Pamela Demory)....Pages 89-105 Adaptation as Queer Touching in The Safety of Objects: Transgressing the Boundaries of Bodies and Texts (Chiara Pellegrini)....Pages 107-120 Fuck-Scripting: Becoming-Queer in Interior. Leather Bar (Queer J. Thomas)....Pages 121-135 Adapting Queer Shorts to Feature Films: Does Size Really Matter? (Whitney Monaghan, Stuart Richards)....Pages 137-153 Transnational Slash: Korean Drama Formats, Boys’ Love Fanfic, and the Place of Queerness in East Asian Media Flows (John Lessard)....Pages 155-174 Front Matter ....Pages 175-175 Queer Many Ways: Ulrike Ottinger’s Dorian Gray im Spiegel der Boulevardpresse (1984) (Shannon Brownlee)....Pages 177-191 Blood Doubles: A Renegotiation of Sheridan le Fanu’s Carmilla on Film (Shelby Wilson)....Pages 193-208 Hitchcock Goes to Italy and Spain: Euro Horror and Queer Adaptation (Fernando Gabriel Pagnoni Berns)....Pages 209-223 Dazzle, Gradually: A “Tru” Account of Adapting Capote’s In Cold Blood (Michael V. Perez)....Pages 225-239 Willful Infidelities: Camping Camille (Jamie Hook)....Pages 241-260 Back Matter ....Pages 261-268 This collection of essays illuminates the intersection of queer and adaptation. Both adaptation and queerness suffer from the stereotype of being secondary: to identify something as an adaptation is to recognize it in relation to something else that seems more original, more authentic. Similarly, to identify something as queer is to place it in relation to what is assumed to be?normal? or?straight.? This volume brings together fifteen original essays that critically challenge these assumptions about originality, authenticity, and value. It is organized in three parts: Part I examines what happens when an adaptation queers its source text and explore the role of the author/screenwriter/director in making those choices. Part II looks at what happens when filmmakers push against boundaries of various kinds: time and space, texts and bodies, genres and formats. Part III explores adaptations whose source texts cannot be easily pinned down, where there are multiple adaptations, and where the adaptation process itself is queer. The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, and camp classics, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap This collection of essays illuminates the intersection of queer and adaptation. Both adaptation and queerness suffer from the stereotype of being secondary: to identify something as an adaptation is to recognize it in relation to something else that seems more original, more authentic. Similarly, to identify something as queer is to place it in relation to what is assumed to be 'normal' or 'straight.' This ground-breaking volume brings together 15 original essays that critically challenge these assumptions about originality, authenticity, and value