‘I have been true to you, upon my guilty soul I have!’: Negotiating Nancy, ‘hyperauthenticity’ and ‘hyperfidelity’ in the 2007 BBC adaptation ofOliver Twist

Abstract: Preface to the 1st Edition Preface to the Revised Edition Chapter 1 Beginning to Theorize Adaptation What? Who? Why? How? Where? When? Familiarity and Contempt Treating Adaptations as Adaptations Exactly What Gets Adapted? How? Double Vision: Defining Adaptation Adaptation as Product: Announced, Extensive, Specific Transcoding Adaptation as Process Modes of Engagement Framing Adaptation Chapter 2 What? (Forms) Medium Specificity Revisited Telling - Showing Showing - Showing Interacting - -Telling or Showing Cliche #1 Cliche #2 Cliche #3 Cliche #4 Learning from Practice Chapter 3 Who? Why? (Adapters) Who Is the Adapter? Why Adapt? The Economic Lures The Legal Constraints Cultural Capital Personal and Political Motives Learning from Practice Intentionality in Adaptations Chapter 4 How? (Audiences) The Pleasures of Adaptation Knowing and Unknowing Audiences Modes of Engagement Revisited Kinds and Degrees of Immersion Chapter 5 Where? When? (Contexts) The Vastness of Context Transcultural Adaptation Indigenization Learning from Practice Why Carmen? The Carmen Story-and Stereotype Indigenizing Carmen Chapter 6 Final Questions What Is Not an Adaptation? What Is the Appeal of Adaptations? Epilogue by Siobhan O'Flynn

Abstract: Acknowledgements. Images. Introduction: History and popular culture. The prizewinning past. Selling historically. Desiring history. Historiocopia/Historioglossia. The popular historian. 'Public' history 1. The public historian, the historian in public. The 'new gardening' and the publicity historian. History, historians, historiography, and celebrity: Great Britons. 'I consider any kind of political or emotional pity for this man is out of place': the David Irving libel trial and aftermath 2. Popular history in print. Narrative History. Political Diaries and witness accounts. Autobiography, personal memoir and biography. Historical biography. The past for children: Horrible Histories. The status of the popular history author. Popular circulation: Magazines. Reception and consumption: Reading Groups and reader-reviews 3. The historian in popular culture. 'That's you, that is': historian as child, adventurer, and hero. The Da Vinci Code. Enfranchisement, ownership and consumption: 'amateur' histories. Serious leisure and enfranchisement 4. Objects and artefacts: antiques, metal detectors and popular archaeology. Local History. The everyday historical: local history, antiques, metal detecting. Metal Detecting, popular archaeology, treasure hunting. History as Hobby: Collecting and Antiquing. Antiques on television: Antiques Roadshow, Flog It!, Bargain Hunt 5. Genealogy: leisure, politics, science. Genealogy. 'I'm getting more and more Jewish as this goes on': self-identity and celebrity revelation. Roots, identity genealogy and America. Science: Genetic Genealogy and daytime detection 6. Digital History: archives, information architecture, encyclopaedias, community websites and search engines. New sources, new tools, new archives. Networked interfaces with information: search engines, Wikipedia. Hacking history: Google Earth. Open source code and community websites. Performing and playing history. Seeing and Believing: Re-enactment Culture. 7. Historical Re-enactment. Combat re-enactment: NARES and the Sealed Knot. Re-enactment and place as historical evidence: documentary. Getting Medievalish: Anachronism, Faires and Banquets 8. Recycling culture and re-enactment/ cultural re-enactment. Music, performance, and remakes. The first time as atonement, the second time as art: Lifeline and Jeremy Deller. The 'extreme historian': Reinhabiting the past 9. History Games. First Person shoot 'em up History. Role playing and history as identity. Civilization and disc contents: strategy games. Wargames and scale models. History on Television. Democratisation and deregulation. 10. Contemporary historical documentary. Documentary as form: self-consciousness and diversion. 'neither wholly fictional nor wholly factual': History on television. 'contemporary, lively and egalitarian': Schama and Starkey. History on Television elsewhere. 11. Reality History. Empathy, auuthenticity and identity. Historical difference and ideology. Authenticity and the historical revelation of self. The 'historical' as cultural genre. The genres of history 12. Historical television: classic serial, costume drama and comedy. Adaptation and costume drama. Queering the genre: Tipping the Velvet and The Line of Beauty. Boy's own authentic drama: Sharpe and Hornblower. Innovation and obscenity: Rome and Deadwood. 'Good Moaning': Comedy and time-travel 13. Performing history - Film and Drama. National cinema, international audiences and historical film. The Heritage debate and British film. History, complexity and horror: Atonement and The Wind the Shakes the Barley. 14. Imagined histories: Novels, plays and comics. Historical Novels. Graphic Novels and hybrid genres. Historical Stage Drama. Artefact and interpretation. New Theories of the Museum. 13. Museums and physical encounters with the past. New Theories of the Museum. Museums and government policy. Digitisation and economics. Conclusions

Abstract: Introduction: What Is Real in Realism? 1. The Prehistory of Realism 2. The World as Image 3. Foundational Photographs: The Importance of Being Esther 4. Race in the Age of Realism: Heathcliff's Obsolescence 5. Sexuality in the Age of Racism: Hungry Alice 6. Authenticity after Photography Notes Index

Abstract: Note on the text Abbreviations Introduction I: MELODRAMA, VILLAINY, ACTING 1. Intellectual Incorrectness: Melodrama, Populism, Cultural Hierarchies 2. The Villains of Stage Melodrama: Romanticism and the Politics of Character 3. Acting and Ambivalence: Periodical Passions II: DICKENS'S NOVELS 4. Melodramatic Poetics and the Gothic Villain: Interiority, Deviance, Emotion 5. Twisting the Newgate Tale: Popular Culture, Pleasure and the Politics of Genre 6. Dickens and Dandyism: Masking Interiority 7. Byronic Baddies, Melodramatic Anxieties 8. Sincerely Deviant Women Afterword Bibliography Index