In this Book

Double-Takes
summary
Over the past forty years, Canadian literature has found its way to the silver screen with increasing regularity. Beginning with the adaptation of Margaret Laurence’s A Jest of God to the Hollywood film Rachel, Rachel in 1966, Canadian writing would appear to have found a doubly successful life for itself at the movies: from the critically acclaimed Kamouraska and The Apprenticeship of Duddy Kravitz in the 1970s through to the award-winning Love and Human Remains and The English Patient in the 1990s. With the more recent notoriety surrounding the Oscar-nominated Away from Her, and the screen appearances of The Stone Angel and Fugitive Pieces, this seems like an appropriate time for a collection of essays to reflect on the intersection between literary publication in Canada, and its various screen transformations. This volume discusses and debates several double-edged issues: the extent to which the literary artefact extends its artfulness to the film artefact, the degree to which literary communities stand to gain (or lose) in contact with film communities, and perhaps most of all, the measure by which a viable relation between fiction and film can be said to exist in Canada, and where that double-life precisely manifests itself, if at all.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright, Dedication
  2. pp. 2-7
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  1. Table of Contents
  2. pp. 7-10
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  1. Introduction
  2. pp. 11-22
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  1. Part One: Realism and its "Others"
  2. pp. 23-24
  1. Beyond the National-Realist Text: Imagining the Impossible Nation in Contemporary Canadian Cinema
  2. pp. 25-38
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  1. Griersonian “Actuality” and Social Protest in Dorothy Livesay’s Documentary Poems
  2. pp. 39-58
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  1. “Stunning and Strange”: Iceland as Memory and Prophecy in Alice Munro’s “White Dump” and Sarah Polley’s “Away from Her”
  2. pp. 59-76
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  1. Maddin, Melodrama and the Pre-National
  2. pp. 77-94
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  1. Dialogic Phantasy in Bruce McDonald’s Adaptive Narratives
  2. pp. 95-110
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  1. Part Two: Adaptation, For Better or Worse
  2. pp. 111-112
  1. Reading Canadian Film Credits: Adapting Institutions, Systems and Affects
  2. pp. 113-138
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  1. Sisters in the Wilderness: Mythologizing Catharine Parr Traill
  2. pp. 139-152
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  1. “Triumph” in the Backwoods: The CBC’s Take on Moodie and Traill in Sisters in the Wilderness (2000)
  2. pp. 153-168
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  1. The Director’s Medium: Richard Attenborough’s De-Authorization of Grey Owl
  2. pp. 169-182
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  1. Narrative Structure and Narrative Voices in The English Patient: Film and Novel—A Comparative Study
  2. pp. 183-198
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  1. Loser Wins: The Rhetoric of High Modernism in The Apprenticeship of Duddy Kravitz
  2. pp. 199-218
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  1. Why They Cannot Get It Right: A Reader’s Notes about Richler on Screen
  2. pp. 219-228
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  1. “[I]t’s my nature”: A Comparison of Hagar Shipley’s Pride in The Stone Angel Novel and Film
  2. pp. 229-244
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  1. Part Three: Identity: "To Be, or Not to Be"
  2. pp. 245-246
  1. Why Sex Matters in Canadian Film and Literature
  2. pp. 247-258
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  1. The Nature of Things: Coupland, Cinema and the Canadian Sixties and Seventies
  2. pp. 259-276
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  1. Adapting Men to New Times? Engagements with Masculinism in John Howe’s Why Rock the Boat?
  2. pp. 277-298
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  1. Filming Music: Adapting Transnational Sound in The English Patient and Fugitive Pieces
  2. pp. 299-316
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  1. “Something’s missing”: Exploding Girlhood and Narrative in The Tracey Fragments
  2. pp. 317-332
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  1. Contributors
  2. pp. 333-336
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  1. Index
  2. pp. 337-362
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  1. Reappraisals: Canadian Writers
  2. pp. 363-366
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