Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation's source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.

David Evan Richard is a Lecturer in Media at Queensland University of Technology (QUT), Australia. He has published articles and essays on film and television aesthetics and experience, adaptation, and philosophy in Adaptation, NECSUS, and Senses of Cinema.

Acknowledgements
List of Figures
Introduction. A 'Fleshly Dialogue'
If Only You Could See What I've Seen with Your Eyes
Fuzzy and Sticky: The Stigma of Subjective Impressionism in Adaptation Studies
Beyond 'Intertextual Dialogism': Phenomenology, Film, and a 'Fleshly Dialogue'
Corpus
Works Cited
Chapter One. Grave Visions: Visual Experience and Adaptation
Introduction: Eye-Opener
Visible and Visible: The 'Carnal Density of Vision'
Early Cinema Aesthetics as an Attractive Possibility for Screen Adaptation
Draped in Shadow: Murnau's Nosferatu
Glittering Night: Francis Ford Coppola's Bram Stoker's Dracula
Conclusion: Out of Sight
Works Cited
Chapter Two. Resonance and Reverberation: Sounding Out Screen Adaptation
Prelude
Acoustic Shape and the Sonic Wizardry of Screen Sound
Listening to the Voice's 'Acoustic, Sensuous Impression'
Heart of Glass: Rendering the Sounds of Depression in The Hours
Alienated Language: Under the Skin
Final Note
Works Cited
Chapter Three. Textural Analysis: Touching Adaptation
Introduction: Scratching the Surface
Skin and Bone: Fleshing Out Tactile Experience in Film Theory
'Thumbprints' and an 'Irritating' Performance: In the Cut's 'Tactile Orientation'
A Touching Sight: Embodied Voyeurism
Conclusion: Final Touch
Works Cited
Chapter Four. Textures of Imagination
Introduction: From Sight to Insight
Wonder, at the Limits of Adaptation Studies
Wonder, Make-Believe, and Simulation: Cognitive Approaches to Imagination
Embodied Imagination and Intercorporeality: Mind the ('Epistemic') Gap!
Inside-Out and Upside-Down: Mood Indigo's Existential Feelings
A Cute Grief: Feeling Blue in Mood Indigo
Conclusion: From Percept to Precept
Works Cited
Chapter Five. (Re-)Mediating Memory's Materiality
Introduction: Tracing Memory's Role in Adaptation
Untangling the 'Thick' Tissue of Memory
Textu(r)al Traces: Memory in Literature and Film
Straight-Laced: The Danish Girl, in Transition
Poison's 'Ambivalent Aesthetic' of Memory
Conclusion: The 'Pressure of the Past', Pushing Towards the Future
Works Cited
Conclusion. Body Language
Arriving at an Embodied Theory of Adaptation
Departures: Towards an 'Ethics of Adaptation'
Works Cited
Bibliography
Filmography
Index