A Multimodal Stylistic Approach to Screen Adaptations of the Work of Alice Munro

Cover
Half Title
Series Page
Title Page
	Copyright Page
Table of Contents
Introduction
	Adapting Clothes, Peaches, and Stories
	A Panoramic Shot over Adaptations
	Dissemination of Preliminary Results
	Volume Outline
1 Adaptation(s)
	Towards a Definition
	The Limits and Risks of Fidelity
	Intertextual Connections
	Engaging Readers and Spectators
	Adaptation as Process and as Product
2 Multimodal Stylistic Analysis
	Multimodal Stylistics
	A Socio-Semiotic Metafunctional Framework
		Forms and Functions of Speech
			Film Dialogues and the Voice-In
			Screen/Story Boundaries and the Voice-Over
		Lyrics, Volume, Melodies
		Words on the Screen
		Size of Frame and Angles
		Movements
		Colour and Light Choices and Changes
		Beyond the Shot
3 Short Canadian Films
	Boys and Girls
		Gender and/as Space Representation
	Thanks for the Ride
		Film Music Framing Theme, Time, and Tone
	All about Connection
4 Extended Canadian Works
	Lives of Girls and Women
		Del’s Relationship with Her Mother
		There Is a Change Coming
		Writing Things Down
		Struggle for Cohesion
	Edge of Madness
		“A Wilderness Station” as Historiographic Metafiction
		Patterns of Adaptation
		Closing in on Madness
		Changes in the Film Adaptation
	Away from Her: Closeness and Distance
		Fiona’s Approach to Her Illness
		Grant as Husband, Caregiver, and Focaliser
		Narrating Dementia: Onset, Development, Tricks
		The Canadian Culture
5 International Screen Adaptations
	Bending Fate in Hateship Loveship
		Ankle Socks and Robust Shoes: Johanna
		Writing Letters as Writing Life
	Juliet Travelling to Spain
		Almodóvar’s Story of Adaptation(s)
		Julieta’s Letter-Writing Scenes
		Making Logical Connections Clear
	From Canada to Canaan: An Iranian Journey
		Criss-Crossing Characters
		A Disturbance, a Definite Picture, a Dream
		From Unpainted Houses to the Promised Land
Concluding Remarks
Index