However, Jordan found the radio play too short for a feature film and suggested to Carter that they use a Chinese box structure, inspired by a film they had both seen, The Sargasso Manuscript. It would be the radio play specifically, and not the short story, that would serve as the foundation for the film adaptation. Angela Carter first met the Irish filmmaker Neil Jordan in Dublin in 1982 where they discussed adapting her recent radio play “The Company of Wolves” for the screen. 2Īware of the strong oral tradition of fairy tales and folk narratives, Carter would strive to retain this aspect of story telling in her radio play treatment of “The Company of Wolves” which was first aired on BBC Radio 3 on May 1, 1980. I write for radio by choice, as an extension and an amplification of writing for the printed page in its most essential sense, even if stripped of all the devices of radio illusion, radio retains the atavistic power, of voices in the dark, and the writer who gives the words to those voices retains some of the authority of the most antique tellers of tales. Indeed, radio remains a challenging medium, because so much is possible in it. Echoing the sentiments of Canadian media theorist Marshall McLuhan, Carter writes about the effects of jumping from one medium to another: The film was produced by Palace Productions and wound up being a small success.
1 Carter would later go on to re-mediate “The Company of Wolves” from its short story origins into a BBC radio play, and finally into the screen play that director Neil Jordan used to make The Company of Wolves (1984). Initially “The Company of Wolves” was a short story in the fairy tale retelling compilation The Bloody Chamber, first published in 1979.
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