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By Peter Dickinson

Audiences frequently degree the luck of movie diversifications by means of how faithfully they adhere to their unique resource fabric. despite the fact that, constancy feedback tells in basic terms a part of the tale of version. for instance, the adjustments made to literary resources during developing their movie remedies are frequently attention-grabbing when it comes to what they demonstrate in regards to the assorted tactics of style popularity and gender id in either media, in addition to the social, cultural, and old contexts governing their construction and reception.

In Screening Gender, Framing Genre, Peter Dickinson examines the historical past and concept of flicks tailored from Canadian literature throughout the lens of gender experiences. precise in its dialogue of a number of diversified variations, together with motion pictures in keeping with novels, performs, poetry, and local orature, this learn bargains new and sometimes provocative readings of works via such recognized Canadian authors as Margaret Atwood, Marie-Claire Blais, and Michael Ondaatje, and through such vital Canadian filmmakers as Mireille Dansereau, Claude Jutra, Robert LePage, and Bruce McDonald. Drawing with equivalent facility from movie and gender thought, and revealing an intensive wisdom of either literary and cinematic historical past, Dickinson has written a full of life and fascinating learn that's absolute to resonate with readers keen on the intersection of Canadian cultural creation and broader problems with gender and nationwide identification formation.

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Margaret Atwood's official website proudly announces that three recent novels - The Robber Bride, Alias Grace, and The Blind Assassin - are all in various stages of film development, by Irish Screen Productions and Victor Solnicki, Working Title Films and Cate Blanchett, and the BBC, respectively (and this despite the decidedly qualified success of earlier adaptations of two of her novels: Claude Jutra's Surfacing [1981] and Volker Schlondorff's The Handmaid's Tale [1990]). Carol Shields voiced her own reservations about Anna Benson Gyles's 1996 adaptation of her novel Swann^ (with Miranda Richardson and Brenda Fricker), which turned a witty satire on academe into an overly earnest treatise on male violence against women; about that adaptation, I will have more to say in the next chapter.

5). Despite these cautionary tales, the pages of publishing trade magazine Quill & Quire continue to be filled with regular announcements of other high-profile Canadian authors (including Ann-Marie MacDonald, Anne Michaels, Thomas King, Guy Vanderhaege, and Douglas Coupland, whose entire literary corpus seems to be under option by Hollywood) who have recently sold film rights to their works. How many of these works actually make it to the screen is, of course, another question entirely. Still, it is worth noting that this kind of active optioning of liter- Sex Maidens and Yankee Skunks 21 ary texts is not unprecedented in Canadian film history, nor is it in literary and film history generally.

Never mind the actual quality of the finished picture. Timothy Findley's The Piano Man's Daughter caused nary a blip on the radar screens of awards lists either inside or outside Canada, but it got an added jolt of adrenaline on the national bestseller lists when it was announced that none other than Whoopi Goldberg had purchased the film rights, and subsequently when it was announced that Stockard Channing had agreed to star. That the resulting made-for-TV film, directed by Anne of Green Gables impresario Kevin Sullivan, hardly registered with audiences when it was broadcast on the CBC in 2003 seemed almost ancillary.

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