Hila Shachar’s text, Cultural Afterlives and Screen Adaptations of Classic Literature: Wuthering Heights and Company , analyses five film and television adaptations of Emily Bronte’s Wuthering Heights in order to expose what she has defined as the ‘cultural afterlives’ of classic literary texts. Shachar’s study examines the following adaptations: William Wyler’s highly influential Wuthering Heights (1939); Jacques Rivette’s Hurlevent (1985); Peter Kosminsky’s Emily Bronte’s Wuthering Heights (1992); Suri Krishnamma’s MTV movie Wuthering Heights (2003); and finally, ITV’s two-part television serial Wuthering Heights (2009). Shachar positions her argument within the critical literature by firstly acknowledging the significance of Patsy Stoneman’s foundational text, Bronte Transformations . Shachar then outlines how she departs from this text and the field of Adaptation Studies by examining how the historical and cultural context in which each film was produced influences the way the adaptation interacts with specific themes from Bronte’s source text. By examining how multiple and varied discourses – such as feminism, postfeminism and ideologies of race – and cultural contexts – such as the advent of Heritage Cinema, youth popular culture and Neo-Victorianism – are implicated within these adaptations, Shachar is able to provide compelling insights into how adaptations of classic literature function within and beyond the cultural context in which they are produced. I now propose to evaluate the effectiveness of Shachar’s argument by first providing a brief outline of each chapter’s analysis. I will then consider how this contributes to the text’s overall thesis.