Simons, Jan. "Film en literatuur." Tijdschrift voor Uteratuurwetenschap 2 (1997): 148-162.
Stam, Robert. "Beyond Fidelity: The Dialogics of Adaptation." Film Adaptation. Ed. James Naremore. London: The Athlone Press, 2000. 54-76.
Stam, Robert. "Introduction: The Theory and Practice of Adaptation " Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Eds. Robert Stam and Alessandra Raengo. Maiden, MA: Blackwell, 2005. 1-52.
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Truffaut, Francois. Hitchcock. 1984. New York: Simon and Schuster, 1985.
deliberate and creative mis-translation that 'digests' literature in order to criticise the conditions under which the film is made. Thanks to the many double entendres and smart devices of Le Mcpris, a 'novelfor a train journey' is transformed into a superb metafilm.
Peter Verstraten is universitair docent Intermedials Uteratuurwetenschap in Leiden. Van %ijn hand verschenen Handbock fllmnarratologie (2006) en Celluloid echo's: cinema kruist postmodernisme (2004) bij Van Tilt Zijn proefschrift was getiteld Screening Cowboys: Reading Masculinities in Westerns (1999). Hij was medesamensteller van bundels over 'psychoanalyse en film' (2006) en 'psychoanalyse en mu^iek' (2007) die verschenen bij Dutch University Press.
Vincendeau, Ginette. "Introduction/' Film / Literature / Heritage: A Sight and Sound Reader. London: BFI, 2000. xi-xvii.
Summary
Insofar as film is considered a storytelling medium3 it is often compared unfavourably to literatuře. A film adaptation of a book is generally bedevilled by the so-called fidelity issue: is the film capable of imitating the 'original* tone of the novel? If not, then the film is regarded as a disappointment This article aims to circumvent the hierarchy that tends to privilege literature over cinema. The first impulse consists of a return to the writings of film theoretician André Ba^in who argued that the relatively young medium of film, in order to develop its 'language) should 'digest' influences from literature and theatre. The second impulse concerns a reading of Jean-Luc Godard's film Le Mépris (Contempt), from 1963> based upon a novel by Alberto Moravia that satirises the film industry. The plot is about the failure to adapt Homers Odyssey to the screen, but the irony is that the Greek classical story is nevertheless realised via a detour in the disintegration of the marriage of the present-day couple. At the same time, Godard had to give in to the demands of his producers, but time and again he does so in such an oblique way that the filtv, which superficially looks like a big-budget movie, becomes a satire of the film industry. Hencef Le Mépris is not an attempt to 'translate' the content of the book, but a
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Peter Verstraten
(Min)achting voor adaptaties  - 37