Asheim, Lester. "From Book to Film: A Comparative Analysis of the Content of Novels and Motion Pictures Based Upon Them." Ph.D. diss., University of Chicago, 1950.
---. "From Book to Film: Summary." Quarterly of Film, Radio, and Television 6 (1952): 258-73.

Beja, Morris. Film & Literature. New York: Longman, 1979.

Bluestone, George, The Novel to Film. (1957) Baltimore: Johns Hopkins UP, 2003.

The Grand-daddy of them all. “First published in 1957, this work of film theory analyzes the process - "the mysterious alchemy" - by which novels are transformed into films. Beginning with a discussion of the aesthetic limits of both the novel and the film, George Bluestone goes on to offer close readings of six films based on novels of serious literary merit - The Informer, Wuthering Heights, The Grapes of Wrath, Pride and Prejudice, The Ox-Bow Incident, and Madame Bovary - focusing on the additions, deletions, and other changes made by the filmmakers in adapting the source material for the screen. Based on both in-depth research into film archives and libraries and on interviews with the screenwriters, directors, and producers who worked on these films, Novels into Film concludes that because the novel lends itself to states of consciousness and the film to observed reality, the adaptation of one from the other produces a new and wholly autonomous art form.” (annotation from product notes on Amazon.com)

Bordwell, David. Narration in the Fiction Film. Madison: U of Wisconsin P, 1985.

Bowers, Nancy Brooker. The Hollywood Novel and Other Novels About Film, 1912-1982: An Annotated Bibliography. New York: Garland, 1985.
Boyum, Joy Gould. Double Exposure: Fiction into Film. New York: Universe, 1985.
Cardwell, Sarah, Adaptation Revisited. Manchester: Manchester UP, 2002
Cartmell, Deborah and Imelda Whelehan, eds. Adaptations : from text to screen, screen to text. London; New York: Routledge, 1999.

---- I. Q. Hunter, Heidi Kaye & Imelda Wheelhan, Pulping Fictions: Consuming Culture across the Literature/Media Divide. London: Pluto, 1996.
---- Classics in Film and Fiction, Pluto P, 2000.

Cardwell, Sarah, Adaptation Revisited. Manchester: Manchester UP, 2002

Cartmel, Deborah I. Q. Hunter, Heidi Kaye & Imelda Wheelhan, Pulping Fictions: Consuming Culture across the Literature/Media Divide. London: Pluto, 1996

----- Classics in Film and Fiction, Pluto Press, 2000

Caws, Mary Ann. Reading Frames in Modern Fiction. Princeton, N.J.: Princeton UP, 1985.

Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell UP, 1978.

Conger, Syndy M. and Janice R. Welsch, eds. Narrative Strategies: Original Essays in Film and Prose Fiction. Macomb: Western Illinois UP, 1980.

Corliss, Richard. Talking Pictures: Screenwriters in the American Cinema. New York: Penguin, 1974.

Corrigan, Timothy. Film and Literature: a comparative approach. Prentice Hall, 1999.

DeMarco, Norman. "Bibliography of Books on Literature and Film." Style 9, no. 4 (1957): 593-607.

Dick, Bernard. "Authors, Auteurs, and Adaptations: Literature as Film/Film as Literature. " Yearbook of American Comparative and General Literature 27 (1978): 7276.

Eidsvik,Charles. "Toward a 'Politique des Adaptations.' " Literature/Film Quarterly 3, no. 3 (1975): 255-63. [Also reprinted in Harrington, pp. 27-37.1 -. Cineliteracy: Film Among the Arts. New York: Random House, 1978.

Eisenstein, Sergei. "Dickens, Griffith, and the Film Today." In Film Form: Essays in Film Theory. Trans. and ed. Jay Leyda. New York: Harcourt, Brace, 1949: 195-255.

Elliott, Kamilla. Rethinking the novel/film debate. Cambridge UP, 2003.

Enser, A. G. S., ed. Filmed Books and Plays: 1928-1974. Orlando, Fla.: Academic P, 1974.

Fadiman, Regina K. Faulkner's "Intruder in the Dust": Novel into Film. Knoxville: U of Tennessee P, 1977.

Fell, John L. Film and the Narrative Tradition. Norman: University of Oklahoma P, 1974.

French, Warren. Filmguide to "The Grapes of Wrath." Bloomington: Indiana UP, 1973.

Froug, William. The Screenwriter Looks at the Screenwriter. New York: Macmillan, 1972.

Geduld, Carolyn. Filmguide to "2001: A Space Odyssey." Bloomington: Indiana UP, 1973.

Geduld, Harry M., ed. Authors on Film. Bloomington: Indiana UP, 1972.

Giddings, Robert. Screening the Novel: the Theory And Practice of Literary Dramatization. Basingstoke: Macmillan, 1990.

---- and Erica Sheen. The Classic Novel: From Page to Screen. Manchester and New York: St. Martin's P, 2000.

The eleven page introduction to this volume begins by remarking that “Film has been around now for over a hundred years, so it is surprising that the nature of its relationship to literature is still an open question.” This open question has of late begun to attract an academic attention which goes beyond the traditional “fidelity criticism” which is solely concerned with measuring how faithful the adaptation remains to the literary original. Erica Sheen argues that rather, adaptation criticism is a study of authorship in a state of historical transformation, between the individual writer to the audio-visual domain (which delegates the role of the creator to many different individuals and machines). Furthermore, the current economic trend regarding adaptations seems to be the production of contemporary adaptations which are instant classics and bestsellers, such as Michael Ondaatje's The English Patient. Finally adaptations of literary classics raise the question of what elements of the experience of reading a classic novel get restored to us in watching a cinematic adaptation. (Cobb: http://www.u.arizona.edu/~scobb/adaptation.html)

Glavin, John. (ed) Dickens on Screen Cambridge UP, 2003.

Goodwin, James. "Literature and Film: A Review of Criticism." Quarterly Review of Film Studies 4, no. 2 (1979): 227-46.

Harrington, John, ed. Film and/as Literature. Englewood Cliffs, N.J.: Prentice-Hall, 1977.

Horton, Andrew and Joan Magretta, eds. Modern European Filmmakers and the Art of Adaptation. New York: Frederick Ungar, 1981.

Jinks, William. The Celluloid Literature. Encino, Cal.: Glencoe P, 1971.

Kawin, Bruce F. Telling It Again and Again: Repetition in Literature and Film. Ithaca: Cornell UP, 1972.
--- Faulkner and Film. New York: Frederick Ungar, 1977.
--- Mindscreen: Bergman, Godard, and First-Person Film. Princeton, N.J.: Princeton UP, 1978.

Kittredge, William and Steven M. Krauzner, eds. Stories into Film. New York: Harper Colophon Books, 1979.

Klein, Michael and Gillian Parker, eds. The English novel and the movies. New York: Ungar, 1981.

Latham, Aaron. Crazy Sundays: F. Scott Fitzgerald in Hollywood. New York: Viking P, 1971.

Laurence, Frank M. Hemingway and the Movies. Jackson: University of Mississippi P, 1981.

Luhr, William. Raymond Chandler and Film. New York: Frederick Ungar, 1982.
---- and Peter Lehman. Authorship and Narrative in the Cinema: Issues in Contemporary Aesthetics and Criticism. Toms River, N.J.: Capricorn, 1977.

Lupack, Barbara Tepa, ed. Nineteenth Century Women At the Movies: Adapting Classic Women's Fiction to Film. Bowling Green, OH: Bowling Green State U Popular P, 1999.

The brief 11 page introduction to this volume traces the history of cinematic adaptation, from the first adaptation, French film maker and magician Georges Melies' A Trip to the Moon (1902), based on Jules Vernes' From the Earth to the Moon, through the early cinema. Adaptations became a way around the censorship attacks of 1907-1908 and a way to achieve respectability as a means of “educating” an audience in the literary classics. Lupack cites various statistics indicating that as many as half of all Academy Awards for Best Picture have gone to adaptations of novels. She explores the parallel history of adaptations of works written by women, such as Pearl Buck's The Good Earth (1937), Harper Lee's To Kill a Mockingbird (1962), Amy Tan's The Joy Luck Club (1993), and so many others. The many women writers who disliked the adaptation process included Willa Cather, Margaret Mitchell, and Virginia Woolf -- who believed that cinematic adaptations were disastrous and inevitably mangled the book. Lupack argues that today, adaptations of works by women writers fill a void of serious entertainment with vivid, well-developed female characters, solid and timeless plots. For these reasons, she thinks that "Jane Austen is hotter than Quentin Tarantino." The book contains chapters on adaptations of Jane Austen's Emma, Northanger Abbey, Sense and Sensibility, Persuasion, and other novels by women writers. (Cobb: http://www.u.arizona.edu/~scobb/adaptation.html)

Magny, Claude-Edmonde, The Age of the American Novel: The Film Aesthetic of Fiction Between the Two Wars (1948). Trans. Eleanor Hockman. New York: Frederick Ungar, 1972.

Marcus, Fred H. Short Story/Short Film. Englewood Cliffs, N.J.: Prentice-Hall, 1977.
--- Film and Literature: Contrasts in Media. Scranton: Chandler, 1971.

McConnell, Frank. The Spoke, Seen: Film and the Romantic Imagination. Baltimore: Johns Hopkins UP, 1975.
---. Storytelling and Mythmaking: Images from Film and Literature. New York: Oxford UP, 1979.

McDougal, Stuart Y. Made into Movies: From Literature to Film. Niles, Ill.: Holt, Rinehart, and Winston, 1985.

McFarlane, Brian. Novel to Film: An Introduction to the theory of Adaptation. New York : Oxford UP, 1996.
---- Words and Images: Austrialian Novels into Film. Victoria, Australia: Heinemann Pubishers, 1983.

The first 18 pages of McFarlane's introduction is extremely readable and raises many important issues about adaptation. He argues against judging adaptations as if their only goal were to capture the spirit of the original literary work. Rather, a cinematic adaptation is a new act of creativity, and close study can reveal how the reinterpretation has been achieved (rather than labeling either the novel or the film as better than the other). If the film adaptation is good, it will display its own point of view, independent from the literary classic. The question to ask is not, “Is this being true to the original?” but rather “Does this make for a coherent and persuasive narrative in its own right?” It's also important to factor in the difference between individual literary authorship, and the collaborative enterprise of film authorship in which the director plays a role. Unlike literary authors, the director cannot imagine into existence characters, sets and scenarios, but must work with other people and things -- actors, set personnel, and complex camera machinery. McFarlane asserts that for adaptations to be profitable, they need to attract large numbers of people, and consequently tend to simplify the complexity of literary narrative and description for easy viewing, appeal to mainstream values, and maximize entertainment value. Do you agree? (Cobb: http://www.u.arizona.edu/~scobb/adaptation.html)

Mendilow, A. A. Time and the Novel. Atlantic Highland, N.J.: Humanities P, 1965.

Miller, Gabriel. Screening the Novel: Rediscovered American Fiction in Film. New York: Frederick Ungar, 1980.

Monaco, James. American Film Now: The People, the Power, the Money, the Movies. rev. ed. New York: New American Library, 1984.

Monissette, Bruce. Novel and Film: Essays in Two Genres. Ed. James R. Lawler. Chicago: University of Chicago P, 1985.

Murray, Edward. The Cinematic Imagination: Writers and the Motion Pictures. New York: Frederick Ungar, 1972.

Naremore, James, ed. Film Adaptation. New Brunswick, New Jersey: Rutgers University P, 2000.

Naremore argues that the term “adaptation” brings to mind films made of classic novels, but not films made of comic books, plays, television series, or re-interpretations of previous films. This is partially because Hollywood has relied upon high brow adaptations of classic novels to gain legitimacy among middle-class viewers. Logistically, the “readerly” novels of the nineteenth century were written in such a way that they could be easily (and economically) transformed into morally conservative entertainment. Many of the great “modernist” novels of the 20th century, such as James Joyce's Ulysses, defied conventional narrative and character development, even as the techniques of other 20th century novelists were said to be cinematic in nature. Often scholars fall into the traps of thinking that studying adaptation means measuring the film's fidelity to the literary text, and/or valorizing the literary tradition over the cinematic, denouncing the film as a poor imitation or a distortion of the novel. Of all movies produced in 1997, 20% had books as their sources, and another 20% were derived from plays, television shows, and other sources. Naremore calls for studies of adaptation which concern the economic, cultural and political issues surrounding texts and their re-interpretations, the recycling, remaking, and other forms of retelling in this age of mechanical reproduction and electronic communication. The volume also contains two other current and interesting essays about adaptation: Robert Ray's “The Field of Literature and Film,” and Robert Stam's “Beyond Fidelity: The Dialogics of Adaptation.” And, bonus, Lesley Stern's “Emma in Los Angeles: Remaking the Book and the City.” (Cobb: http://www.u.arizona.edu/~scobb/adaptation.html)

Orr, John and Colin Nicholson, eds. Cinema and fiction : new modes of adapting, 1950-1990. Edinburgh: Edinburgh UP, 1992. (Cobb)

Peary, Gerald and Roger Shatzkin, eds. The Classic American Novel and the Movies. New York: Frederick Ungar, 1977.
--- The Modern American Novel and the Movies. New York: Frederick Ungar, 1978.

Pendo, Stephen. Raymond Chandler on Screen: His Novels into Film. Metuchen, N.J.: Scarecrow P, 1976.

Phillips, Gene D. Hemingway and Film. New York: Frederick Ungar, 1980.

Reynolds, Peter, ed. Novel Images: Literature in Performance. Routledge: London and New York, 1993.

The first ten pages of the introduction of this volume examines some implications of the widespread popularity of adaptations, from Alice Walker's The Color Purple to Jane Austen, Dickens, Hardy, and Lawrence. Adaptations represent a significant portion of all films, especially in Britain, where the BBC and British Independent Television have devoted up to 40% of all dramatic productions to adaptations. Reynolds attributes this adaptation fascination to the need to attract large audiences, while minimizing the financial risks associated with productions of original works. Paradoxically, since our culture celebrates originality, the actual adapters of famous cinematic adaptations are rarely in the limelight and even their works are not judged on their creative merit, but rather by the plodding standard of how faithful they are to the original text. Because most classic novels were not written with future adaptation in mind, Reynolds argues that every adaptation becomes a reinterpretation of the original literary text -- most basically since so much editing and compression is required. Additionally, audiences may want adaptations to have fast-moving narratives, glossy period settings, rich costumes, spectacle and celebrity, and prefer these slick adaptations to those that offer the slow unfolding of moral, social, ethical and political issues found in many classical novels. (Cobb: http://www.u.arizona.edu/~scobb/adaptation.html)

Richardson, Robert. Literature and Film. Bloomington: Indiana UP, 1969.

Ross, Harris. "A Selected Bibliography of the Relationship of Literature and Film." Style 9, no. 4 (1975): 564-92.

Ross, Lillian. Picture. New York: Avon, 1952.

Ruchti, Unrich and Sybil Taylor. Story into Film. New York: Dell, 1978.

Schneider, Harold W. "Literature and Film: Marking Out Some Boundaries." Literature/ Film Quarterly 3, no. 1 (1975): 30-44.

Sontag, Susan. Against Interpretation. New York: Dell, 1972.

Spiegel, Alan. Fiction and the Camera Age: Visual Consciousness in Film and the Modern Novel. Charlottesville: UP of Virginia, 1976.

Stam, Robert. Literature through Film Realism, Magic and the Art of Adaptation, Oxford: Blackwell, 2005
----- and Alessandra Raengo, Literature and Film: A guide to the theory and practice of Film Adaptation. Oxford: Blackwell, 2005

Tibbetts, John C. & James M. Welsh. The Encyclopedia of Novels into Film. 2d ed. Facts On File. (Film Reference Library). 2005. 586p. illus. bibliog. (Available at NCTU 交通大學)

以小說名稱編排，一共三百篇，包括劇情摘要，評論和書目，包括 The Lord of the Rings, trilogy and The Hours, Ethan Frome and Forrest Gump等。
(Arranged by novel titles, about 300 entries and each entry includes plot summary, a critique of adaptation and secondary bibliography. Entries include: The Lord of the Rings, trilogy and The Hours, Ethan Frome and Forrest Gump.)

Toles, George E., ed. Film/Literature. Winnipeg: University of Manitoba P, 1983.

Wagner, Geoffrey. The Novel and the Cinema. Cranbury, N.J.: Fairleigh Dickinson University P, 1975.

Welch, Jeffrey Egan. Literature and Film: An Annotated Bibliography, 1909-1977. New York: Garland Publishing, 1981.

Whiteside, Thomas. The Blockbuster Complex: Conglomerates, Show Business and Book Publishing. Middletown, Conn.: Wesleyan UP, 1981.

Wicks, Ulrich. "Literature/Film: A Bibliography." Literature/Film Quarterly 6 (Spring 1978): 135-43.