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Not Adaptation but "Drifting": Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature

Two recent films by British filmmaker Patrick Keiller—London (1994) and Robinson in Space (1997)—are mindful of and indebted to two works by Daniel Defoe—Robinson Crusoe (1719) and A Tour through the Whole Island of Great Britain (1724-26). The films raise important questions about Defoe's texts and the link between film and literature. In the twentieth century, that relationship has further intricated the always complex borderline status of the novel,1 and while some filmmakers and theorists have argued against any kind of continuity between literature and film, more have linked