The chapter tests the concept of an affective aura and its applicability to the studies of film adaptation. Building upon Walter Benjamin’s understanding of aura as the associations which cluster around objects of our perception, the author looks at how—in spite of many cross-media adaptations—our affective elaborations of certain texts both change and delay changing. Adaptations create doubled experiences and the pleasures of multi-layered vision. Every new version encourages the viewers to experience several performances at once: the audiences oscillate between the effects of a directly perceived entity and the memories of the previous ones. Their contradictory responses shape the work’s complex affective aura. The censored cinematic versions of Tennessee Williams’s plays provide convincing examples of this. Due to the Production Code regulations, the 1950–60s adaptations transformed Williams’s plots and seemed to redirect the viewer’s feelings: from sad and hopeless to life-affirming (The Glass Menagerie, 1950), from eerie and ambiguous to punitive (A Streetcar Named Desire, 1951), from violent to happy (Cat on a Hot Tin Roof, 1958; Sweet Bird of Youth, 1962). Cinematic re-readings made the viewers experience a clash of affects: subversive narratives received (less) (un) happy endings. Was the affective aura of Williams’s worlds reshaped? What tactics of the viewers and strategies of the filmmakers help to prevent reshaping and enable a new multi-layered aura to exist?