Colin Davis. "From Psychopathology to Diabolical Evil: Dr. Jekyll, Mr. Hyde and Jean Renoir." Journal of Romance Studies Volume 12.1 (2012): 10-23. Academic Search Complete. Web. 9 Oct. 2014 Edit
Colin Davis focuses on the theme of evil in adaptations of Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde and how it relates to the original narrative. Davis argues that adaptations of the novella, in particular Jean Renoir's 1959 film Le Testament du docteur Cordelier, must adapt the idea and representation of evil to relate to the time and social atmosphere in which they take place. Davis explains that Stevenson also did this when the novella was written; the "evil" of the narrative correlated to what was happening in science and medicine at the time. Adapting the representation of evil in the story allows the narrative to continue. Davis discusses Immanuel Kant's types of evil (frailty, impurity, wickedness) and how they relate to the novella and its adaptations. Davis suggests that the way evil is represented in adaptations is influenced by current world events and social relations. In the case of Le Testament du docteur Cordelier, Davis claims that the violence and evil in the film is influenced by the aftermath of the Holocaust in post-WWII France.
Monica Germaná. "Becoming Hyde: Excess, Pleasure and Cloning." Gothic Studies Volume 13.2 (2011): 98-115. Academic Search Complete. Web. 8 Oct. 2014. Edit
Germana navigates the subject of Gothic adaptations of Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde beginning by exploring various adaptations of the narrative, from an NES game to graphic novels to stage productions and film. Germana jumps around to these productions and texts without attention to dative order, but takes snapshots of particular deviations from the novella which productions chose to make, displaying them in light of historical preoccupations and connecting these elements between adaptations throughout. The second half of the study takes Steven Moffat's BBC series, Jekyll (2007) as its central concern. Germana marks the elements Moffat's version inherits from previous adaptive works, offers discourse upon its distinct departure from "polarised binarisms", and posits Stevenson's Hyde as prime material for such postmodern reapplication for his original "unfathomability": both natural and abysmal, sublime and chaotic. Germana's deconstruction of Moffat's adaptive choices examines particularly the employing of a nefarious corporate power--one capable of extraordinary economic, military, and scientific feats--whose role is so significant that the central drama shifts from Jekyll and Hyde's competition to one which plays on explicit modern anxieties. The article is an excellent primer for understanding the narrative's development as advantageous to maintaining cultural significance, and at length a commentary upon the adapting of the gothic tone for a technology rich and increasingly embracing modern audience.
Matt Hills. “Counterfictions in the Work of Kim Newman: Rewriting Gothic SF as “Alternate-Story Stories" Science Fiction Studies, Vol. 30, No. 3, The British SF Boom (Nov., 2003) Print. Edit
Matt Hills wrote this essay for Science Fiction Studies, a literary journal dedicated to science fiction explicating Robert Louis Stevenson's’ The Strange Case of Dr. Jekyll and Mr. Hyde as a staple in the genres of Gothic, modern horror fiction, and specifically its place in science fiction. Hills discusses several scholarly comments on the genres of horror and science fiction and where these certain adaptations belong. Matt Hills argues for a gray area between genres and notes similarities by examining Kim Newman’s Further Developments of The Strange Case of Dr. Jekyll and Mr. Hyde (1999), “A Drug on the Market” in Dark Terrors 6 (2002), and Anno Dracula (1992). Hills argues these early Gothic novels such as Frankenstein, Dracula, and The Strange Case of Dr. Jekyll and Mr. Hyde are actually hybrids of the two genres, using the term “gothic sf” as in “gothic science fiction.” He supports his argument by comparing how the scientific creation of Frankenstein’s monster led famous British writer and critic Brian Aldiss to describe Mary Shelley’s work as “the first real novel of science fiction.” Hills uses this work as well as Dracula by Bram Stoker to point to the similarities of scientific, or science- like, intervention on these creatures and argues for the early signs of science fiction filling these classic Gothic novels. Matt Hills argues for the development of “counterfiction” as in fiction that could belong to multiple genres that correlates and circles back to similar themes and ideas of the adapted original. Hills provides a valid statement about genre and substance of a novel and the separation of these two through time and adaptation.
Anna Lepine. "Hyde and Seek in an Age of Surveillance: Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde and the BBC's Jekyll." Neo-Victorian Studies Volume 2.1 (2008/2009): 78-102. Academic Search Complete. Web. 12. Oct. 2014 Edit
Anna Lepine considers the issue of surveillance in Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. She explains that Steven's novella is a "story of overlooking". This is because Hyde must operate in secrecy. Lepine then considers how this need must be adapted to function in a modern setting in a world of ever-increasing surveillance. She states that the BBC's Jekyll (2007) supplies alternative interpretations of the novella while emphasizing the narrative's underlying issue of surveillance and community. Lepine also claims that the novella warns of the possible problems with surveillance. She explains that increased surveillance does not prevent crime, it just exposes it, as demonstrated by the novella and Jekyll. She discusses how this is also relevant to current issues in society. Lepine states that The Strange Case of Dr. Jekyll and Mr. Hyde is a story about selective overlooking of crime in society. This theme would be near-impossible to continue in adaptation in a modern setting without also adapting the nature of Hyde's crime. Lepine explores the ways in which Hyde's crimes are adapted to function in the modern day setting of Jekyll.
Marta Miquel-Baldellou. "Mary Reilly as Jekyll or Hyde: Neo-Victorian (re) creations of Feminity and Feminism." Journal of English Studies 8 (2010): 119-140. Edit
Miquel-Baldellou sets out to examine the themes of femininity and feminism in the development of the character of Mary Reilly in Martin's adaptation of the Jekyll and Hyde narrative--from a male-centric gothic story on duality into a Neo-Victorian gothic romance whose female protagonist's change is this first iteration of human psychology to be only mirrored by Jekyll's well known transformation. The article is especially useful for the critical analysis of works that adapt the narrative while maintaining the original time period in which the plot occurs. The looking back and employing of alleged Victorian anxieties which adaptation may consider in "re-creation" give rise to the opportunity to address later social concerns: particularly in the case of Miquel-Baldellou's analysis, feminist concerns. The primary focus of the article is the subversion of Victorian gender policies in Martin's adaptation and the analysis serves those in the study of both the narrow area of Neo-Victorian adaptation as well as the broader study of narrative recreation for the purpose of espousing more gender dynamic interpretation.
Brian A. Rose "Jekyll and Hyde Adapted: Dramatizations of Cultural Anxiety." Westport, CT: Greenwood, 1996. Print. Edit
Brian A. Rose’s “Jekyll and Hyde Adapted: Dramatizations of Cultural Anxiety” illustrates an interesting idea that a single text, of which has been adapted as much as Jekyll and Hyde has, can demonstrate certain shifts in cultural attitudes. Rose brings forth a relationship between culture and performance and argues that the authors of the adaptations of Stevenson’s “The strange case of Dr. Jekyll and Mr. Hyde” often mesh the initial story with multiple issues of class, gender, economics and race. Rose, uses Jekyll and Hyde as his “tracer” text and uses it to demonstrate that ideas born of adaptation can exert a reflexive structuralizing influence on the cultural uses of the original narratives. Through this novel, the author includes Culture Text and the Uses of Adaptation, Allegory to Domestic Melodrama (from 1887 to 1920 then from 1932 to 1948), a Paratragedy of Violence and the Activity of Serial Adaptation
Joyce Carol Oates. “Jekyll/Hyde.” The Hudson Review, Vol. 40, No. 4 (Winter, 1988) Print. Edit
Joyce Carol Oates describes in this essay the nature of the characters Dr. Jekyll and Mr. Hyde from Robert Louis Stevenson’s novella The Strange Case of Dr. Jekyll and Mr. Hyde and how the nature of these characters stands as the reason for their remaining prevalence in modern day story telling and adaptations since it’s completion in 1886. Oates compares Jekyll/Hyde to Mary Shelly’s Frankenstein and the monster of that work, Bram Stoker’s Dracula, and even Alice from Alice’s Adventures in Wonderland by Lewis Caroll. Joyce Carol Oates makes this comparison in the notion of similarity in the idea of autonomies. These are characters that, regardless of the fact whether a modern reader has read the novel form of these works or not, the reader is still quite familiar with the characteristics and themes of that character. Oates conveys how the Victorian times influence on these monsters of the Gothic, and relates these Victorian fears with modern fears including classism, new medical/scientific advances, disassociation, and even social acceptance regarding sex. Joyce Carol Oats contrasts Jekyll/Hyde with another Gothic literature character, Dorian Gray from Oscar Wilde’s The Picture of Dorian Gray. She differentiates the two representations of evil by explaining both the physical and metaphysical separation between Dr. Jekyll and Hyde are far more drastic in the portrayal of evil rather than a single entity of evil more open to public eye such as the character of Dorian Gray. Oates continues tying the argument of the resilience of Jekyll/Hyde remarking the true fear of this creature of Robert Louis Stevenson that has transformed through years lies in the notion the Jekyll/Hyde character can not survive in halves, that Jekyll must die with Hyde, and vice-versa. This fear, Joyce Carol Oates argues, is a reason Dr. Jekyll and Mr. Hyde have been adapted with such prevalence through time.