Aldridge Agatha Christie on Screen

1. Auflage 2016
ISBN: 978-1-137-37292-5
Verlag: Palgrave Macmillan UK
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 362 Seiten

Reihe: Literature, Cultural and Media Studies (R0)

This book is a comprehensive exploration of 90 years of film and television adaptations of the world's best-selling novelist's work. Drawing on extensive archival material, it offers new information regarding both the well-known and forgotten screen adaptations of Agatha Christie's stories, including unmade and rare adaptations, some of which have been unseen for more than half a century. This history offers intriguing insights into the discussions and debates that surrounded many of these screen projects - something that is brought to life through previously unpublished correspondence from Christie herself and a new wide-ranging interview with her grandson, Mathew Prichard. Agatha Christie on Screen takes the reader on a journey from little known silent film adaptations, through to famous screen productions including 1974's Murder on the Orient Express, as well as the television series of the Poirot and Miss Marple stories and, most recently, the BBC's acclaimed version of And Then There Were None.                                               

Dr Mark Aldridge is a senior lecturer in Film and Television at Southampton Solent University, UK, specialising in film and television history. Previous publications include The Birth of British Television, also published by Palgrave Macmillan. He has been a fan of Agatha Christie since he first saw Agatha Christie's Poirot when he was seven.                                               

Autoren/Hrsg.

Aldridge, Mark

Inhaltsverzeichnis

1;Dedication;6
2;Foreword;7
3;Acknowledgements;9
4;Contents;11
5;Introduction;15
5.1;Notes;19
6;Part I: Finding the Agatha Christie Film Form, 1928–37;20
6.1;Chapter 1: The Silent Adventures;21
6.1.1;The Passing of Mr Quinn (1928);22
6.1.2;Die Abenteuer GmbH [The Secret Adversary] (1929);26
6.1.3;Notes;29
6.2;Chapter 2: Poirot Comes to the Silver Screen;31
6.2.1;Alibi (1931);31
6.2.2;Black Coffee (1931);34
6.2.3;Lord Edgware Dies (1934);35
6.2.4;Love from a Stranger (1937);38
6.2.5;Notes;42
7;Part II: Experiments in Television, 1937–62;45
7.1;Chapter 3: The Early Television Adaptations;46
7.1.1;Christie’s Early Relationship with the BBC;46
7.1.2;The Wasp’s Nest (1937);49
7.1.3;Love from a Stranger (1938);51
7.1.4;Three Blind Mice (1947);53
7.1.5;1949 in Television;56
7.1.6;Notes;59
7.2;Chapter 4: New Prospects and Problems in Television;63
7.2.1;Christie on American Television in the 1950s;63
7.2.2;Christie on British Television in the 1950s;73
7.2.3;Christie on 1960s Television;77
7.2.4;Notes;82
8;Part III: Agatha Christie Films, 1945–65;86
8.1;Chapter 5: Christie Films Make an Impact;87
8.1.1;And Then There Were None (1945);87
8.1.2;Love from a Stranger (1947);91
8.1.3;Witness for the Prosecution (1957);93
8.1.4;The Spider’s Web (1960);98
8.1.5;Notes;100
8.2;Chapter 6: Margaret Rutherford as Miss Marple;103
8.2.1;Murder She Said (1961);103
8.2.2;Murder at the Gallop (1963);107
8.2.3;Murder Most Foul (1963);110
8.2.4;Murder Ahoy (1964);111
8.2.5;The Alphabet Murders (1965);113
8.2.6;Notes;116
9;Part IV: Prestige Films and Beyond, 1965–87;118
9.1;Chapter 7: A New Era on Screen;119
9.1.1;Endless Night (1972);124
9.1.2;Murder on the Orient Express (1974);128
9.1.3;Ten Little Indians (1974);135
9.1.4;Notes;139
9.2;Chapter 8: Peter Ustinov as Hercule Poirot;144
9.2.1;Death on the Nile (1978);146
9.2.2;Agatha (1979);149
9.2.3;The Mirror Crack’d (1980);151
9.2.4;Evil Under the Sun (1982);154
9.2.5;Ustinov’s Poirot Moves to Television;156
9.2.6;Appointment with Death (1988);162
9.2.7;Notes;165
10;Part V: Rethinking Agatha Christie Adaptations, 1979–95;167
10.1;Chapter 9: Christie Comes Back to Television;168
10.1.1;The Agatha Christie Hour (1982);174
10.1.2;Tommy and Tuppence on Television;176
10.1.3;Murder by the Book and The Last Seance (1986);181
10.1.4;Notes;184
10.2;Chapter 10: New Approaches;186
10.2.1;Murder is Easy (1982), Sparkling Cyanide (1983) and Witness for the Prosecution (1982);187
10.2.2;Helen Hayes as Miss Marple;194
10.2.3;Ordeal by Innocence (1985);199
10.2.4;The Man in the Brown Suit (1989);205
10.2.5;Ten Little Indians (1989);206
10.2.6;Innocent Lies (1995);208
10.2.7;Notes;210
11;Part VI: Televising the Canon, 1984–2013;212
11.1;Chapter 11: Agatha Christie’s Miss Marple;213
11.1.1;The Mystery of Crooked House;215
11.1.2;Spider’s Web (1982);218
11.1.3;The Beginnings of Agatha Christie’s Miss Marple (1984–92);219
11.1.4;Miss Marple Goes Back to the Beginning;231
11.1.5;Completing the Canon;236
11.1.6;Notes;241
11.2;Chapter 12: Agatha Christie’s Poirot;245
11.2.1;The Return of Poirot;253
11.2.2;A Change of Pace for Poirot;260
11.2.3;Poirot’s Hiatus and Return;267
11.2.4;A Change of Style for Poirot;270
11.2.5;Poirot’s Final Curtain;279
11.2.6;Notes;283
12;Part VII: International Adaptations;287
12.1;Chapter 13: European Adaptations;288
12.1.1;Germany;288
12.1.2;France;292
12.1.3;Other European Countries;298
12.1.4;Notes;299
12.2;Chapter 14: Adaptations in the Rest of the World;300
12.2.1;India;300
12.2.2;Russia;303
12.2.3;Japan;307
12.2.4;Notes;310
13;Part VIII: Remaking and Reworking, 1999–;312
13.1;Chapter 15: Christie with a Twist;313
13.1.1;Agatha Christie: Marple;318
13.1.2;McEwan Returns as Marple;322
13.1.3;Julia McKenzie as Marple;326
13.1.4;The End of Marple;329
13.1.5;Notes;330
13.2;Chapter 16: Looking to the Future;332
13.2.1;Partners in Crime;335
13.2.2;And Then There Were None;338
13.2.3;The Future;340
13.2.4;Notes;342
14;Bibliography;344
15;Index;346