Carter published The Bloody Chamber two years after translating the fairy tales of Charles Perrault into English, and many of her stories are based on his versions, although they draw from diverse sources. The collection as a whole refocuses traditional fairy tales to address the heroine's experience. In some, the heroine herself claims a voice by acting as narrator. Carter based the book's title and longest story, "The Bloody Chamber," on the legend of Bluebeard. "The Courtship of Mr. Lyon" and "The Tiger's Bride" both originate from Beauty and the Beast. " Puss-in-Boots " comes from the fairy tale of the same name, and " The Erl-King " borrows its title and title character from German and Scandinavian folktales. " The Snow Child " is based on a somewhat obscure version of Snow White , and "The Lady of the House of Love" is based loosely on Sleeping Beauty as well as vampire legends. The last three stories in the collection, "The Werewolf," "The Company of Wolves," and " Wolf-Alice " all draw on versions of Red Riding Hood. "Wolf-Alice," The Bloody Chamber's finale, also incorporates ideas from Lewis Carroll's Through the Looking Glass and What Alice Found There as well as stories of feral children. Carter collaborated on a film version of "The Company of Wolves" with director Neil Jordan, which was released in 1984. The movie reworks the story's ending, of which Carter approved because her interest was in melding her vision with Jordan's. Additionally, several of the stories in The Bloody Chamber have been made into stage plays, especially "The Bloody Chamber" and "The Tiger's Bride." Carter's canonization, though after her death, is evidence that she has fulfilled her "wish to validate [her] claim to a fair share of the future by staking [her] claim to [her] share in the past.'"