This book posits adaptations as 'hideous progeny,' Mary Shelley's term for her novel, Frankenstein . Like Shelley's novel and her fictional Creature, adaptations that may first be seen as monstrous in fact compel us to shift our perspective on known literary or film works and the cultures that gave rise to them.

List of Figures
Acknowledgements
Introduction
PART I: JOURNEYS AND AUTHORSHIP
1. 'It's Alive!': The Monster and the Automaton as Film and Filmmakers
2. Lightening Up: Reappearing Hearts of Darkness
3. Hideous Fraternities: The Coen Brothers Hit the Road
PART II: TEXTUAL AND MARGINAL IDENTITIES
4. Imitations of Life and Art
5. The Quiet Presence of 'The Yellow Wallpaper' in Todd Haynes's []'
6. Musical Theater and Independent Film
PART III: IMMERSIVE THEATER AND THE MONSTROUS AVANT-GARDE
7. Adapting Time and Place: Avant-Garde Storytelling and Immersive Theater
8. Film Adapts Time: Christian Marclay's
9. Cape Fear, The Simpsons, and Anne Washburn's Post-Apocalyptic
Epilogue
Works Cited
Index

Julie Grossman is Professor of English and Communication and Film Studies at Le Moyne College in Syracuse, New York, where she teaches courses in literature, film, and gender and cultural studies. She has published numerous scholarly articles on film, literature, art, and adaptation. Grossman is co-editor of A Due Voci: The Photography of Rita Hammond (2003), author of Rethinking the Femme Fatale in Film Noir: Ready for her Close-Up (2009, 2012), and her co-authored monograph (with Therese Grisham) on the directing work of Ida Lupino is forthcoming.