Acknowledgments; Introduction: Accented Slants, Hollywood Genres: An Interfidelity Approach to Adaptation Theory; Chapter 1: Colonial Discourse, George Stevens’s Gunga Din, And the Hollywood Studio System; Chapter 2: “He Is Not Here by Accident”: Transit, Sin, and the Model Settler in Patrick Lussier’s Dracula 2000; Chapter 3: Those Other Victorians: Cosmopolitanism and Empire in Jane Campion’s The Portrait of a Lady; Chapter 4: Imperial Vanities: Mira Nair, William Makepeace Thackeray, and Anglo-Indian Cultural Commodity in Vanity Fair; Chapter 5: Epic Multitudes: Postcolonial Genre Politics in Shekhar Kapur’s The Four Feathers; Chapter 6: Gentlemanly Gazes: Charles Dickens, Alfonso Cuarón, and the Transnational Gulf in Great Expectations; Chapter 7: Indie Dickens: Oliver Twist as Global Orphan in Tim Greene’s Boy Called Twist; Chapter 8: Three-Worlds Theory Chutney: Oliver Twist, Q&A, and the Curious Case of Slumdog Millionaire; Conclusion: Streaming Interfidelities and Post-Recession Adaptation; Notes; Bibliography