These final two chapters discuss how vastly different reworkings of Dickens’ Oliver Twist serve as examples of the problems of adaptation as a method of resistance that the interfidelity approach hopes to counter. They also diverge from the type of adaptations this project has examined thus far as they are not adaptations of Victorian literature made by postcolonial filmmakers within the Hollywood system. They are, however, examples of categories 4 and 5 of the postcolonial adaptation taxonomy discussed in the introduction that aid in further understanding of Hollywood's global reach over national film industries in postcolonial nations. We first turn to Tim Greene's 2004 adaptation of Dickens’ novel A Boy Called Twist and the director's use of orphanhood to address both the poverty and AIDS epidemic that erupted in the wake of Britain's imperial control of the region as well as the contemporary cooption of the ‘global orphan’ by foreign governments and non-governmental aid organisations (NGOs) that frame transnational aid discourse.

Viewing Oliver's marginalised status within the context of postcolonial theory evokes parallels between the domestic orphans of the ‘other nation’ and those colonised by the British imperial project. However, for a South African filmmaker such as Greene, the orphan trope also bears strong ties to the associations between South Africa and the AIDS epidemic that has gained worldwide attention. As Helen Meintjes and Sonja Giese write,

While the estimated 1.4 million children who become AIDS orphans in South Africa each year create a host of issues ranging from orphanage funding to increased bullying and mental disorders, the group has remained largely understudied and abstractly defined. At the same time, the image of the South African child orphaned by AIDS has shifted into the idea of the ‘global orphan’ that, while serving as a potent symbol to attract international NGO and charity resources in much the same way as the Victorian era Poor Law orphan, complicates responses to a localised issue by stripping the nuances away from such orphans living in South Africa.