Glancing at the title of Ewa Mazierska’ s Nabokov’ s Cinematic Afterlife one might expect a book favouring a traditional approach to adaptation studies. The title pointing to the name of Vladimir Nabokov, suggests that the writer and therefore literature occupies the centre of this study. Then, a look at the book’s table of contents may assure the reader that he or she is about to read eight essays, each focused on only one film and (as one is likely to believe) one Nabokov novel. This rule of comparison seems to be in effect until the ninth chapter titled simply Vladimir Nabokov and Jean-Luc Godard. However, more detailed examination of the contents reveals that among the first eight chapters only the last one mentions the name of Nabokov and the title of his short story, The Assistant Producer, although places it beside Triple Agent, a film written and directed by...
