This is a book for the entire family, or at least I hope so! I am of the opinion that this book should be in every household, but if for any reason it does not fit the bill, or the familys expectations, then I would like to hear about it as I am open to constructive criticism. I am also in the business of perfecting my art of creativity, so I would welcome any input from my readers. Please refer to the contact details at the back of the book. Stories such as, Bella, Prince Naga, and Africa can be found in this book. I hope you full-joy (enjoy) the vibrations. Before I go any further, let me take this opportunity to thank you all for purchasing this book. If you like it and it pleases you, then pass the word around and shout it on the rooftops if you have to. Let the world know that you have not only found something of great value, but you have also found knowledge, information, laughter, humor, and expressionall in the same place.

The screen has never been merely a canvas for the images to be displayed but also – to quote Jean-Luc Godard – “a blank page”, a surface for inscriptions and a “stage” for all kinds of linguistic occurrences be their audible or visual. Word did not come into the world of cinema at the time of the talkies but has been a primordial medial “companion” that has shaped the cinematic experience from its very beginnings. This volume offers a collection of essays that question the role of words and images in the context of moving pictures covering a wide area of their interconnectedness. How can we analyse literary adaptations? What is the role of adaptations in the evolution of specific national cinemas? In what way are written texts used in films? Is the model of the word and image relations used in silent films still applicable today? What major paradigms can be discerned within the multiplicity of ways Jean-Luc Godard’s cinema plays with words and images? Are these models of modernist or postmodern cinema reflected in films of other directors like R. W. Fassbinder? How do avant-garde works deal with the word and image debate? What are the connections of animation or computer games with verbal text and narrative? What is the phenomenon of jet-setting and how does it connect to the ideological implications of the relations between the culture of books and films? What happens when Hamlet is completely rewritten reflecting the ideology of late capitalism? What happens from the point of view of literariness or rejection of literariness when films are made vehicles of national propaganda? How do words get mediated through images? These are some of the questions addressed in the present volume by in-depth case studies of cinematic intermediality or more general surveys regarding cinema’s long lasting liaisons with language or literature.

First published in 1865, Alice's Adventures in Wonderland began as a story told to Alice Liddell and her two sisters on a boating trip in July of 1862. The novel follows Alice down a rabbit-hole and into a surreal world of strange and wonderful characters who constantly turn everything upside-down with their mind-boggling logic and word play, and their fantastic parodies. Carroll's fable illustrates his masterful ability to weave logic with nonsense in a tale that continues to delight all ages. While this great classic is widely available, the Broadview edition is unique. Richard Kelly combines Alice's Adventures in Wonderland not with the later (and largely distinct) work Through the Looking Glass but rather with Alice's Adventures Under Ground, Lewis Carroll's first version of the story. Readers are thus able to trace the literary revisions, and to compare Caroll's own illustrations in the original with the famous John Tenniel illustrations for Alice's Adventures in Wonderland. Among the many other materials included in the Broadview Literary Texts edition are a substantial selection of early reviews, selections from Carroll's diaries and correspondence, Carroll's early nonsense poems, and the originals of the poems parodied in his text.