Titlebook: Agatha Christie on Screen; Mark Aldridge Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Hercule Poirot.Miss Marple.crime f

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Stuart Shields,Ian Bruff,Huw Macartneywork, although some one-off adaptations of her stories did appear on the medium—occasionally in the UK and Europe, but more frequently in the USA. Using previously unseen archival material to give us the best insight into these long-lost productions, this chapter looks at the very earliest televisio

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https://doi.org/10.1057/9781403983206ve commanded such a large and devoted readership, by the very nature of adaptation it is normally the case that when any writer’s work is produced for a different medium, this is done in order to widen the attraction of the original piece. Yet occasionally, adaptations will appeal to people who are

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e-Health in China: An evaluationedium found itself in a position where it was finally permitted to prove itself to Agatha Christie Ltd. However, the journey to television’s most acclaimed adaptations of Christie’s works required a great deal of negotiation and, initially at least, an important proviso. It was London Weekend Televi

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Fatemeh Hoda Moghimi,Nilmini Wickramasinghe from both the 1980s and 1990s that do not comfortably sit within the categories explored in previous chapters. These films are reflective of attempts to make adaptations of Christie’s work find a new permanent place on the big or small screen—either through updated thrillers for television, or arti

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