Contents

pp v-vi

List of Figures

pp vii-viii

Notes on Contributors

pp ix-xi

Acknowledgements

pp xii-xii

Introduction: On the Text–Film Relationship – The Question of Apt and Inapt Adaptations

pp 1-28

Part One - Goncharov and Turgenev: Adaptation as Nostalgia

pp 29-30

1 - The Politics of Nostalgia: Ivan Goncharov’s Oblomov and Nikita Mikhalkov’s Film Adaptation

pp 31-51

2 - Adapting Turgenev’s Novel as a Pastorale: Avdotya Smirnova’s Fathers and Sons

pp 52-76

Part Two - Reimagining Dostoevsky

pp 77-78

3 - Dostoevsky and Bresson: From ‘A Meek Creature’ to Une femme douce

pp 79-99

4 - Funny and Frightening: Dostoevsky’s The Double in Richard Ayoade’s Interpretation

pp 100-120

Part Three - Collaborating with Chekhov

pp 121-122

5 - ‘The Paths I Have Established …’: Chekhov on the Russian and American Screen

pp 123-143

6 - Louis Malle and Uncle Vanya

pp 144-164

7 - Reinventing Chekhov for the American Screen: Michael Mayer’s The Seagull

pp 165-180

Part Four - Engaging with Tolstoy

pp 181-182

8 - Thanatophobia on the Soviet Screen: Tolstoy’s Death of Ivan Il’ích and Aleksandr Kaidanovsky’s A Simple Death

pp 183-204

9 - Forged Network Narratives: Tolstoy’s The Forged Coupon and a cycle of adaptations in World Cinema

pp 205-225

10 - War and Peace: A New Visual Dimension

pp 226-247

Index

pp 248-252