Foreword by Liz Jones

Introduction

Part I Contextualisation and Methodology

A: Contextualisation of Emily Brontë's Novel

Chapter 1: Myth, the Fantastic and Wuthering Heights

Chapter 2: Emily Brontë and Her Local Sphere

B: From the Novel’s to the Films’ Intertextuality

Chapter 3: The Myth of Psyche and the Fairy Tale of Beauty and the Beast

Chapter 4: Tristan and Iseult

Chapter 5: Georges Bataille and the Literature of Evil

Chart of the Mythical Components (MCs), Bataillan
Themes (BTs) and Planar/Gothic Figures

C: Adapting the Adaptation Discourse to Our Corpus

Chapter 6: Adaptation, Translation and the Unconscious of the Text
Three Relevant F-Words: Fidelity, Foreignisation and Figure
Flirting with the Dynamic Structures of the Imaginary:
Gilbert Durand
Improvised Chart of the Heroic, Mystical and Dramatic Structures

Chapter 7: From Film Adaptation to Cultural Translation
After Babel: George Steiner
After Babel and Wuthering Heights

Part II The British Silent Era – Looking Back at a Lost Picture

A: Wuthering Heights and the Written Evidence

Chapter 8: Absence of Footage

Chapter 9: Ideal’s Programme – Adaptation seen as Cultural Practice

Chapter 10: Ideal’s Programme – Gazing at Wuthering Heights, the Film

Chapter 11: Ideal’s Programme – Gazing at Wuthering Heights, the Novel

Chapter 12: Ideal’s Programme – The Gender of the Author

Chapter 13: Ideal’s Programme – Fidelity through the Locations

Chapter 14: Ideal’s Synopsis – Melodrama and Pictorialism

Chapter 15: Ideal’s Synopsis – The ‘Ephemera’ of the Lively Arts

B: Recomposition of Wuthering Heights: An Insight into the Hermeneutic of ‘Incursion’

Chapter 16: A Modern (Silent) Motion Picture

Chapter 17: Wuthering Heights and Albert Victor Bramble

Chapter 18: Wuthering Heights seen through the Bramble-Stannard Partnership and Mr. Gilfil’s Love Story

Chapter 19: Hitchcock’s Hidden Collaborator, Eliot Stannard

Chapter 20: Wuthering Heights (1920), Poetic Realism and Hitchcock-Stannard’s The Manxman (1929)

Part III The Heritage and Cross-Heritage Transformations

A: From the Cinema Classics to the Televisual Transformations

Chapter 21: L’Amour Fou (1933–1953)

Chapter 22: L’Amour Mercenaire (1938–1939)

Chapter 23: Audience Response in the UK (1939–1978): An Hermeneutic of ‘Re-Appropriation’
The BBC Teleplays
The Lindsay Anderson’s Film Project (1963–1965)
The BBC2 Classic Serials

B: The ‘Period’ Dramas and the ‘Anti-Period’ Dramas: Reflections on Cultural ‘Accuracy’ and Cultural ‘Displacement’

Chapter 24: The British Period Dramas – From One Generation to the Next, from Hollywood to ITV: Accuracy and Compensation

Tilley-Fuest (1970)
Interview with Patrick Tilley
Interview with Bob Fuest
Kosminsky-Devlin (1992) and Skynner-McKay (1998)
Kosminsky-Devlin (1992)
Interview with Peter Kosminsky
Skynner-McKay (1998)
Interview with David Skynner
Bowker-Giedroyc (2009)

Chapter 25: The Anti-Period Dramas in Britain and Abroad: Displacement and Compensation

Wainwright-Sheppard (2002)
Interview with Sally Wainwright
Rivette-Schiffman-Bonitzer (1985)
Interview with Jacques Rivette
Yoshida-Bataille (1988)
Interview with Philippe Jacquier
Arnold-Hetreed (2011)

Simplified Chart of the Dynamic Structures of Wuthering Heights