![]() In terms of singular stories, one of the most adapted is arguably Dickens’s A Christmas Carol, partly (like James) due to its firm position within Christmas tradition. An upcoming adaptation of his story The Mezzotint is due to be screened at Christmas this year on the BBC. James is likely the most adapted of ghost story writers (perhaps with some competition from Algernon Blackwood), in terms of the sheer number of different stories that have made it onto the screen. It could almost be argued that the most adapted of writers and their stories are those that convey this visual terror most effectively. ![]() With the act of seeing so pivotal to their narrative arcs, there is an obvious visual quality within them that renders their potential for screen adaptation irresistible. With this in mind, it’s clear to see why several of the strongest ghost stories of the last two hundred years or so have found their way onto screens in various forms. ![]() James’s or those witnessed horrors of Charles Dickens all stories in which the act of seeing becomes the spine of the narrative. In the history of the literary ghost story, several writers have taken the form to its zenith through terrifying temporal lapses of perception. ![]() ![]() Seeing becomes séance in tales of the supernatural. If their earnest intention in simplistic terms is to scare, then that fear first and foremost arises from witnessing. ![]()
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