02602pam a2200397 a 45000010008000000030008000080050017000160060019000330070003000520080041000550100017000960200022001130200025001350350012001600400023001720410008001950430012002030500027002150820015002421000022002572450066002792600039003453000041003843360026004253370028004513380027004794900023005065000028005295000020005575201468005776500040020456500036020856500036021216500023021578300024021801560869BJBSDDR20250801171723.0a|||||r|||| 00| 0 ta920909s1992    nyua    r     001 0 eng    a   92031154   a0806513403 (pbk.)  a9780806513409 (pbk.)  a1560869  aDLCcDLCdDLCbeng  aeng  an-us---14aPN 1997.85bH676w 199200a791.43/6571 aHitt, Jim,d1939-10aWords and shadows :bliterature on the screen /cby Jim Hitt.  aNew York :bCitadel Press, c1992.  a246 pages :billustrations ;c28 cm.  atextbtxt2rdacontent  aunmediatedbn2rdamedia  avolumebnc2rdacarrier0 aCitadel press book  a"A Citadel Press book."  aIncludes index.  aWords and Shadows is an exploration of how great works of American literature have been adapted—or transformed—for the screen. With a focus on writers like Theodore Dreiser, Stephen Crane, Sinclair Lewis, Willa Cather, Nathaniel Hawthorne, Edgar Allan Poe, Edith Wharton, and Henry James, author Jim Hitt delves into the tensions between written narrative and cinematic storytelling.

The book examines both the possibilities and limitations of translating literary themes, tone, and complexity into film. Drawing on examples across multiple genres—from gothic to realism, from historical drama to psychological fiction—Hitt discusses how internal voice, symbolic language, and narrative structure are altered when the medium shifts from the page to the screen.

Rather than lamenting what is “lost in translation,” Hitt provides a balanced critique: some adaptations enhance the emotional core or visual drama of a literary work, while others oversimplify or misinterpret the author's intent. Through detailed analysis, Words and Shadows shows how film adaptations reflect changing cultural values, aesthetic choices, and audience expectations.

The result is a book that appeals to literature lovers, film enthusiasts, and students of adaptation alike. It encourages readers to see film not merely as a derivative of literature but as an art form with its own storytelling grammar—one that sometimes shadows, sometimes amplifies, the written word. 0aAmerican fictionvFilm adaptations. 0aMotion pictures and literature. 4aAdaptaciones cinematográficas 4aCine y literatura  0aCitadel press book