The ‘Waste Land’ project: framing practice-based research through literary adaptation

References

• Ballet Mécanique. 1924. France. Directed by Fernand Leger and Dudley Murphy.
   Google Scholar
• Berlin: The Symphony of a Great City. 1927. Germany. Directed by Walther Ruttmann.
   Google Scholar
• Bluestone, G. 1957/2003. Novels Into Film. Baltimore, MD: The John Hopkins University Press.
   Google Scholar
• Brooker, P. 2004. Bohemia in London: The Social Scene of Early Modernism. Basingstoke: Palgrove Macmillan.
   Google Scholar
• Brooker, J. S., and J. Bentley. 1992. Reading the Wasteland: Modernism and the Limits of Interpretation. Amherst: University of Massachusetts Press.
   Google Scholar
• The Cabinet of Dr. Caligari. 1919. Germany. Directed by Robert Wiene. Germany.
   Google Scholar
• Cartmell, D., and I. Whelehan. 1999. Adaptations: From Text to Screen, Screen to Text. London: Routledge.
   Google Scholar
• Cohen, K. 1979. Film and Fiction: The Dynamics of Exchange. New Haven, CT: Yale University Press.
   Google Scholar
• Eliot, T. S. 1919. “Tradition and the Individual Talent.” In 1975 Selected Prose of T.S Eliot, edited by F. Kermode, 37–44. London: Faber & Faber.
   Google Scholar
• Eliot, T. S. 1923. “Ulysses, Order and Myth.” In 1975 Selected Prose of T.S Eliot, edited by F. Kermode, 175–178. London: Faber & Faber.
   Google Scholar
• Eliot, T. S. 1940/1999. The Waste Land and Other Poems. London: Faber & Faber.
   Google Scholar
• Eliot, T. S. 1957/1990. On Poetry and Poets. London: Faber & Faber.
   Google Scholar
• Eliot, V. 1971. The Wasteland: A Facsimile and Transcript of the Original Drafts, Including the Annotations of Ezra Pound. London: Faber & Faber.
   Google Scholar
• Ellman, M. 1987. The Poetics of Impersonality: T S Eliot and Ezra Pound. Brighton: The Harvester Press.
   Google Scholar
• Fry, H., S. Ketteridge, and S. Marshall. 2003. A Handbook for Teaching and Learning in Higher Education: Enhancing Academic Practice. 2nd Ed. London: Routledge.
   Google Scholar
• Giddings, R., K. Selby, and C. Wensley. 1990. Screening the Novel: The Theory and Practice of Literary Dramatisation. London: Macmillan.
   Google Scholar
• Humm, M. 2002. Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema. Edinburgh: Edinburgh University Press.
   Google Scholar
• Hushing the Room Enclosed. 2008. UK. Directed by Sally Waterman.
   Google Scholar
• Hutcheon, L. 2006. A Theory of Adaptation. Abingdon: Routledge.
   Google Scholar
• I Knew Nothing. 2006. UK. Directed by Sally Waterman.
   Google Scholar
• Kline, K. 1996. “The Accidental Tourist on Page and on Screen: Interrogating Normative Theories About Film Adaptation.” Literature/Film Quarterly 24 (1): 70–83.
   Google Scholar
• Korg, J. 1960. “‘Modern Art Techniques in The Waste Land’.” In 1968. A Collection of Critical Essays on ‘The Wasteland’, edited by J. Martin, 87–96. Englewood Cliffs, NJ: Prentice Hall.
   Google Scholar
• L’ Etoile de Mer. 1928. France. Directed by Man Ray.
   Google Scholar
• Man with a Movie Camera. 1929. USSR. Directed by Dziga Vertov.
   Google Scholar
• Manhatta. 1921. USA. Directed by Charles Sheeler and Paul Strand.
   Google Scholar
• Miller, J. E. 1977. T. S Eliot’s Personal Waste Land: Exorcism of Dreams. University Park: The Pennsylvania State University Press.
   Google Scholar
• Naremore, J. 2000. Film Adaptation. London: The Athlone Press.
   Google Scholar
• O’Pray, M. 2003. Avant-garde Film: Forms, Themes and Passions. London: Wallflower Press.
   Google Scholar
• Orr, J., and C. Nicholson. 1992. Cinema and Fiction: New Modes of Adapting 1950-1990. Edinburgh: Edinburgh University Press.
   Google Scholar
• Ouditt, S. 1999. “Orlando: Coming Across the Divide.” In Adaptations: From Text to Screen, Screen to Text, edited by D. Cartmell, and I. Whelehan, 146–156. London: Routledge.
   Google Scholar
• Owls at Noon Prelude: The Hollow Men. 2005. France. Directed by Chris Marker.
   Google Scholar
• Pound, E. 1913. “In a Station of the Metro.” In Selected Poems 1908–1969, edited by E. Pound, 53. London: Faber & Faber.
   Google Scholar
• Potter, C. 1990. Image, Sound and Story: The Art of Telling in Film. London: Secker & Warburg.
   Google Scholar
• Richardson, R. 1969. Literature and Film. Bloomington: Indianna University Press.
   Google Scholar
• Schwartz, S. 1985. The Matrix of Modernism: Pound, Eliot and Early 20th Century Thought. Princeton, NJ: Princeton University Press.
   Google Scholar
• Shklovsky, V. 1917. “Art as Technique.” In 2006 The Critical Tradition: Classic Texts and Contemporary Trends, edited by D. Richter, 774–784, 3rd ed. Boston, MA: Bedford/St.Martin’s.
   Google Scholar
• Shklovsky, V. 1927. “Poetry and Prose in Cinema.” In 2000. Film Studies: Critical Approaches, edited by J. Hill, and P. Church Gibson, 63–64. Oxford: Oxford University Press.
   Google Scholar
• Stam, R. 2000. “Beyond Fidelity: The Dialogics of Adaptation.” In Film Adaptation, edited by J. Naremore, 54–76. London: Athlone Press.
   Google Scholar
• Strike. 1924. USSR. Directed by Sergei Eisenstein. USSR.
   Google Scholar
• The Awful Daring of a Moment’s Surrender. 2009. UK. Directed by Sally Waterman.
   Google Scholar
• The Deep Sea Swell. 2009. UK. Directed by Sally Waterman.
   Google Scholar
• The Wasteland. 1987. Spain. Installation by Juan Munñoz.
   Google Scholar
• The Waste Land. 1995. USA. Directed by Deborah Warner.
   Google Scholar
• The Waste Land. 1999. UK. Directed by John Smith.
   Google Scholar
• Urban Shadow Walks. 2006. UK. Directed by Sally Waterman.
   Google Scholar
• Wagner, G. 1975. The Novel and the Cinema. Rutherford, NJ: Fairleigh Dickinson University Press.
   Google Scholar
• Waterman, S. 2018. “Re-Imagining the Family Album Through Literary Adaptation.” In Global Photographies: Memory, History, Archives, edited by S. Helff, and S. Michels, 155–176. Bielefeld: Transcript Verlag.
   Google Scholar
• Whitman, W. 1900. Leaves of Grass. Philadelphia: David McKay.
   Google Scholar
• Who is the Third Who Walks Always Beside You? 2009. UK. Directed by Sally Waterman.
   Google Scholar
• Woolf, V. 1926. “The Cinema.” In 1993. The Crowded Dance of Modern Life, edited by V. Woolf, 54–58. London: Penguin.
   Google Scholar
• Woolf, V. 1927/1992. “To the Lighthouse.” In edited by Stella McNichol. London: Penguin.
   Google Scholar