Adaptation, Awards Culture, and the Value of Prestige; Acknowledgments; Contents; List of Figures; 1 Adaptation and Systems of Cultural Value; What is Prestige?; The Centrality of Prestige; (Per)forming Prestige; From Awards Bait to Canon Fodder; Adaptation and the Canon; Authorship, Fidelity, and Prestige; Notes; Works Cited; PartI Adapting Award Winners, Awarding Adaptations; 2 The Pulitzers Go to Hollywood; Notes; Works Cited; 3 Beware of Imitations: All about Eve (1950); Notes; Works Cited; 4 Hilary Mantel's Wolf Hall(s) and the Circulation of Cultural Prestige

Adapting Wolf Hall for the StageAdapting Wolf Hall for the Screen; Notes; Works Cited; 5 Adapting Queerness, Queering Adaptation: Fun Home on Broadway; Adapting Queerness, Queering Adaptation; From Graphic Memoir to Memory Musical; Memory, Longing, and Recognition; Notes; Works Cited; PartII Adaptation, Prestige, and the Canon; 6 Oliver's Auteurs: The Cases of Lean and Polanski; Adapting Dickens, Attaining Prestige, Authoring Film; Dickens as Dark Muse: The Case of David Lean; Dickens as Redeemer: The Case of Polanski; Notes; Works Cited

7 Origins, Fidelity, and the Auteur: The Bengali Films of Tapan SinhaNotes; Works Cited; 8 The Fortunes of Jane Austen as Chick Lit and Chick Flick; Jane Austen: Nineteenth and Twentieth Century Responses; From Chick Lit to Chick Flicks: Austen Adaptations and Postfeminism; Adapting the Chick Flick, Take One: Sense and Sensibility, Postfeminism, and Awards Culture; Adapting the Chick Flick, Take Two: Postfeminism and Male Identity in Persuasion; Adapting the Chick Flick Take Three: The Female Gaze and the Male Body in Pride and Prejudice; Conclusion; Notes; Works Cited

9 Jazz, Prestige, and Five Great Gatsby Film AdaptationsMusic in Fiction-to-Film Adaptations; Gatsby, Music, and Prestige; Jazz: History and Prestige; Fitzgerald's Jazz; Jazz, Prestige, and Surviving Fiction-to-Film Gatsby Adaptations; Concluding Observations; Notes; Works Cited; PartIII Locating Prestige; 10 Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige; Defining Originality at the Academy; Cinematic Homage and the Basterds Who Killed the WWII Film; America's Original Sin: The Origins of Django Unchained; Notes; Works Cited

11 The Hollywood Remake Massacre: Adaptation, Reception, and ValueThe Lowest of the Low: Remaking, Genre, and Cultural Value; Favouring the Original: Fidelity, Audiences, and Prestige; Considering Fan Responses to Remakes; Notes; Works Cited; 12 "How do I act so well?" The British "Shakespearean" Actor and Cultural Cachet; Forging a Shakespearean Identity; The Shakespearean Sound; Commodifying the Shakespearean; Parodying Shakespeareanism; Reflecting on Shakespearean Prestige; Notes; Works Cited; Index