| Liminaire |
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ROUMIANA DELTCHEVA,
WACLAW M. OSADNIK,
EDUARD VLASOV
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637-637 |
| Beyond the Boundaries of the Medium |
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ROUMIANA DELTCHEVA
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639-644 |
| Film and Literature: Historical Models of Film Adaptation |
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ALICJA HELMAN,
WACLAW M. OSADNIK
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645-658 |
| Overcoming the Threshold: Bakhtin, Eisenstein, and the Cinema of German Expressionism |
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EDUARD VLASOV
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659-678 |
| A Compromise with Literature? Making Sense of Intertitles in the Silent Films of Alexander Dovzhenko |
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BOHDAN Y. NEBESIO
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679-700 |
| After the Carnival: The Filmic Prosaics of Schindler's List |
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WILLIAM H. THORNTON
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701-708 |
| Neo-Realism/Neo-Counterfeitism in Literature and Film: André Gide and Maurizio Nichetti |
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CARLO TESTA
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709-723 |
| Tracking the Dialectic: Theodor Adorno and Michael Mann's The Last of the Mohicans |
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ALAN BOURASSA
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725-737 |
| Frankenstein of the Nineties: The Composite Body |
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BOURIANA ZAKHARIEVA
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739-752 |
| Destination Classified: On the Transofrmation of Spatial Forms in Applying the Narrative Text to Film (The Case of Heart of Darkness and Apocalypse Now) |
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ROUMIANA DELTCHEVA
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753-764 |
| Envisioning Spaces: Akira Kurosawa's Adaptation of Dostoevsky's The Idiot |
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EMMA P. MARCIANO
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765-774 |
| King Lear's Filmic Adaptation: A Chaos? |
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THAÏS FLORES NOGUEIRA DINIZ
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775-780 |
| Orphée à l'écran: Un défi représentatif |
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SABINE HILLEN,
NATHALIE ROELENS
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781-790 |
| Cinematic Adaptation: Orfeu Negro da Conceição |
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JARED BANKS
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791-801 |
| Narrators in Narration in Fiction and Film: Ruth Prawer Jhabvala's Heat and Dust |
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MARÍA CRISTINA RODRÍGUEZ
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803-808 |
| The Spirit of Australia in Picnic at Hanging Rock: A Cast Study in Film Adaptation |
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MAREK HALTOF
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809-822 |
| Insect Poetics: Cronenberg's Naked Lunch |
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WILLIAM BEARD
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823-852 |
| Literature-Film Relations: Selected Bibliography (1985-1996) |
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ROUMIANA DELTCHEVA
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853-871 |
