Nombre de documents


CV de Shannon Wells-Lassagne

Ouvrage (y compris édition critique et traduction)2 documents

  • Laurent Mellet, Shannon Wells-Lassagne. Etudier l’adaptation filmique : cinéma anglais – cinéma américain. Presses Universitaires de Rennes, 2010, 978-2-7535-1152-1. <hal-01170105>
  • Laurent Mellet, Wells-Lassagne Shannon. Étudier l'adaptation filmique. Presses Universitaires de Rennes, pp.200, 2010. <halshs-00475207>

Direction d'ouvrage, Proceedings6 documents

  • Wells-Lassagne Shannon, Isabelle Roblin, Ian Macdonald. « Screenwriting, Adaptation, and the Screen Idea ». France. 7 (2), 2016, Journal of Screenwriting. <halshs-01407453>
  • Georges-Claude Guilbert, Shannon Wells-Lassagne. Television and Narratology : New Avenues in Storytelling. France. 2014, GRAAT Online, <>. <hal-01170100>
  • Shannon Wells-Lassagne, Letort Delphine. L’adaptation cinématographique: Premières pages, premiers plans. France. Mare et Martin, 2014, 978-2-84934-154-4. <hal-01170093>
  • Shannon Wells-Lassagne, Ariane Hudelet. Screening Text: Critical Perspectives on Film Adaptation. United States. McFarland, 2013, 978-0-7864-7230-7. <hal-01170097>
  • Shannon Wells-Lassagne, Ariane Hudelet. Expanding Adaptations. United States. 34, 2013, Interfaces. <hal-01170102>
  • Ariane Hudelet, Shannon Wells-Lassagne. De la page blanche aux salles obscures: adaptation et réadaptation dans le monde anglophone. France. Presses Universitaires de Rennes, 2011, 978-2-7535-1365-5. <hal-01170099>

Chapitre d'ouvrage8 documents

  • Wells-Lassagne Shannon. « Adapting desire : Wives, prostitutes, and smallfolk ». Anne Gjelsvik; Rikke Schubart. The Women of Ice and Fire, Bloomsbury pp.39-56, 2016. <halshs-01407455>
  • Shannon Wells-Lassagne. De l’écran à la page: Castle and Richard Castle’s Deadly Storm. Benoît Mitaine, David Roche, Isabelle Schmitt-Pitiot. Bande dessinée et adaptation (littérature, cinéma, tv), Presses Universitaires Blaise Pascal, pp.299-308, 2015, 978-2-84516-682-0. <hal-01170108>
  • Shannon Wells-Lassagne. Adaptation, or Falsifying Memory. Melvyn Stokes, Zeenat Saleh. Memory in/of English-speaking Cinema / Le cinéma comme vecteur de la mémoire dans le cinéma anglophone, Michel Houdiard, pp.501-515, 2014, 978-2-35692-108-6. <hal-01170114>
  • Shannon Wells-Lassagne. ‘This is not a very promising beginning’: Opening credits in Mansfield Park (Rozema 1999) and Vanity Fair (Nair 2004). Shannon Wells-Lassagne, Delphine Letort. L’adaptation cinématographique : Premières pages, premiers plans, Mare et Martin, 2014, 978-2-84934-154-4. <hal-01170110>
  • Shannon Wells-Lassagne. Sexual Politics: The Last September, Novel and Film. Ariane Hudelet, Shannon Wells-Lassagne. Screening Text: Critical Perspectives on Film Adaptation, McFarland, pp.129-139, 2013, 978-0-7864-7230-7. <hal-01170118>
  • Shannon Wells-Lassagne. Filming Theory: Patricia Rozema’s Mansfield Park. David Roche, Christophe Gelly. Approaches to Film and Reception Theories/Cinéma et théories de la réception, Presses Universitaires Blaise Pascal, 2012, 978-2-84516-523-6. <hal-01170116>
  • Shannon Wells-Lassagne. Elizabeth Bowen : Writing in and from the Margins. Sophie Aymes-Stokes, Laurent Mellet. In and Out: Eccentricity in Britain, Cambridge Scholars Press, pp.181-191, 2012, 978-1-4438-3907-5. <hal-01170120>
  • Shannon Wells-Lassagne. Heritage and Happy Endings: Adapting to Audience Expectations. Armelle Parey, Dominique Sipière, Isabelle Roblin. Happy Endings and Films, Michel Houdiard, pp.89-102, 2010, 235692034X. <hal-01170123>

Article dans une revue10 documents

  • Wells-Lassagne Shannon. « Picturing Dorian Gray: Portrait of an Adaptation ». Etudes Anglaises, Klincksieck, 2016, 69 (1), pp.76-87. <halshs-01407448>
  • Shannon Wells-Lassagne. Divided loyalties: Opening sequences in small-screen fantasy adaptations. Screen, Oxford University Press (OUP), 2015, 26 (2), pp.269-275. <hal-01170081>
  • Shannon Wells-Lassagne. Religious aesthetics in Game of Thrones. TV / Series, 2014, pp.4-18. <!numero5/c1a6h>. <hal-01170087>
  • Shannon Wells-Lassagne. Le film noir autoréférentiel : Dark City d’Alex Proyas. CinémAction, Cinémaction ; Filméditions ; Corlet, 2014, pp.56-63. <hal-01170088>
  • Shannon Wells-Lassagne. High Fidelity : Adapting Fantasy Novels to the Small Screen. TV / Series, 2014, pp.109-122. <>. <hal-01170085>
  • Shannon Wells-Lassagne. Prurient pleasures : Adapting fantasy to HBO. Journal of Adaptation in Film and Performance, Intellect, 2013, 6 (3), pp.415-426. <hal-01170082>
  • Shannon Wells-Lassagne. C’est la vie : Translating The Office for French Screens. Critical Studies in Television, Manchester University Press, 2012, 7 (2), pp.92-100. <hal-01170084>
  • Shannon Wells-Lassagne. Crossing the Pond : Adapting The Office to an American Audience. TV / Series, 2012, pp.171-187. <hal-01170089>
  • Shannon Wells-Lassagne. Transforming the traditional sitcom: Abed in Community. TV / Series, 2012, pp.455-466. <!numero1/c26q>. <hal-01170090>
  • Shannon Wells-Lassagne. ‘Disjected Snapshots: Photographic Composition in the Short Stories of Elizabeth Bowen. Journal of The short Story in English, 2011, pp.39-48. <hal-01170091>