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Literature Film Quarterly ISSN 2573-7597 Summer 2018

VOL.46, NO. 3

Summer 2018   ISSN 2573-7597

Editor’s Note:

This July 2018 issue of LFQ is dedicated to Laurence Raw. I only knew Laurence from a distance, but I feel the impact of his recent death keenly. He was a long-time editorial board member of LFQ: along with being prolific in the field himself, he peer-reviewed articles for us for over fifteen years. He was the kind of person we could send virtually anything, because the scope of his knowledge was so broad. He was a model peer-reviewer too, in that he always gave us the kind of feedback that could truly help our authors, whether or not their work was to be accepted by him. In his later life, Laurence wrote some blogs about adaptation studies that combine personal reflections with textual analyses. In this spirit, I think on how this leader within adaptation studies was himself an amazingly adaptable person: he lived with grave illness for a very long time. In the spirit of a novel that inspired a marvelous adaptation—Life of Pi—he learned to live with the constant threat of death. Maybe he even made friends with that “Richard Parker.” He certainly has inspired me to keep adapting, and to keep being part of this vast conversation we call academia, come what may. Thank you Laurence.

Elsie Walker 

A message from Marton Marko, President, Literature/Film Association

The Literature/Film Association is deeply saddened by the passing of Laurence Raw, a long-time, irreplaceable presence in the LFA and friend to many LFA constituents.  A prolific, creative scholar and tireless, passionate instructor, his work to extend the paradigm of adaptation study into a variety of disciplines was foundational, while his comprehensive and devoted examination of the relationship between literature and film remains essential. The LFA expresses condolences to Laurence’s family and close friends with endless appreciation for all he brought to our field and into our lives. 

A Dialogue on Adaptation

Words Radiating Images: Visualizing Text in Abel Gance’s La Roue

Schlöndorff's Return to Montauk: Adaptation as Gender-Aware Self-Criticism