Issued also as the author's thesis, City University of New York. / Includes bibliographical references (p. [167]-169).

Issued also as the author's thesis, City University of New York. / Includes bibliographical references (p. [167]-169).

The purpose of this essay is to study two film adaptations of the original Planet of the Apes novel and see what kind of relationship the two adaptations have with each other. The main question is if the secondary film adaptation is restricted by the primary and if the relationships between these two are as two separate adaptations or as a remake of an adaptation. What the results of the study show is that the secondary adaptation can not be seen as a remake even though it gets some of its inspiration from both the original story as well as the primary adaptation. The secondary adaptation is, however, restricted in what it can adapt due to the primary adaptation having the first pick, at least if the secondary adaptation wishes to be a whole new adaptation and not a remake of the primary. The study shows also that the fidelity in the secondary adaptation is not necessarily to either the original or the primary but to the knowledge the audience has about the Planet of the Apes universe which they have gathered from all of the important versions of the story. The essay also states that there is yet much to learn about the relationship between secondary and primary film adaptations which means that the field is still in need of exploration.

Au sortir de la Révolution, les collections du Garde-Meuble présentaient un aspect singulier : on avait dispersé bon nombre de chefs-d’œuvre du mobilier royal, et dans le même temps, saisi chez les émigrés et condamnés beaucoup de meubles et objets de grande valeur. Napoléon Ier dut compter sur cette dotation pour meubler les palais dont il prenait possession avec le faste adéquat. La valeur de ces remplois de mobilier évolua au fil des régimes: à une valeur purement utilitaire succédèrent bientôt d’autres qualités attribuées à cet héritage, sur les plans historique, artistique, et symbolique. Sous la Restauration, on ne prêta guère attention à ce patrimoine, pourtant quasi familial, et les ventes de rebuts organisées dans les années 1820 contribuèrent à disperser encore des meubles royaux du XVIIIe siècle. C’est sous la Monarchie de Juillet que se fit jour un intérêt historique pour ces collections, largement mises à profit pour les ameublements des palais. Dans le même temps, le Garde-Meuble initia une véritable politique d’acquisition de mobilier ancien, à l’effet de se procurer des modèles authentiques et de compléter les collections. Ce dernier aspect fut d’autant plus important sous le Second Empire. À l’initiative de l’impératrice Eugénie, qui érigea le style Louis XVI en quasi-style officiel, on racheta des pièces importantes du mobilier royal, dont la plupart servit à l’exposition consacrée à Marie-Antoinette au Petit Trianon en 1867. Finalement, l’étude de ces remplois aura conduit à définir un processus de patrimonialisation du mobilier au XIXe siècle, qui mena à la reconnaissance de la valeur historique de ces objets et à leur présentation au musée. / After the French Revolution, the collections of the Garde-Meuble were divided into two parts : on one hand, all pieces of royal furniture that were not sold at auction, and on the other hand, many objects confiscated from convicts and émigrés. By ascending the throne, Napoléon Ist used this endowment to furnish the palaces with all necessary ceremonial. This is considered as simply utility reuses of ancient furniture ; the same situation is to notice for the Restauration, although Louis XVIII and Charles X could have seen those collections as a familial heritage. When Louis-Philippe Ier came to power, the value of ancient furniture reuses evolved, due to a new interest in historic heritage. By creating historicist interiors in the palaces and by refurnishing historic appartements, the Garde-Meuble developed an acquisition policy on the art market to enrich its collections. This phenomenon was enhanced during the Second Empire, on the initiative of Empress Eugénie, a period that saw the first retrospective exhibitions, for instance the one hold at the Petit Trianon and dedicated to the Queen Marie-Antoinette in 1867. Last but not least, this study underlines the process of ̏ patrimonialization ̋ that characterized the fate of French royal furniture during the 19th-century, and led to its permanent exhibition in museums