Twentieth-Century American Fiction on Screen

Cover
R. Barton Palmer
Cambridge University Press, 22.02.2007 - 257 Seiten
The essays in this collection analyse major film adaptations of twentieth-century American fiction, from F. Scott Fitzgerald's The Last Tycoon to Toni Morrison's Beloved. During the century, films based on American literature came to play a central role in the history of the American cinema. Combining cinematic and literary approaches, this volume explores the adaptation process from conception through production and reception. The contributors explore the ways political and historical contexts have shaped the transfer from book to screen, and the new perspectives that films bring to literary works. In particular, they examine how the twentieth-century literary modes of realism, modernism, and postmodernism have influenced the forms of modern cinema. Written in a lively and accessible style, the book includes production stills and full filmographies. Together with its companion volume on nineteenth-century fiction, the volume offers a comprehensive account of the rich tradition of American literature on screen.
 

Ausgewählte Seiten

Inhalt

Abschnitt 1
9
Abschnitt 2
26
Abschnitt 3
27
Abschnitt 4
28
Abschnitt 5
45
Abschnitt 6
46
Abschnitt 7
65
Abschnitt 8
66
Abschnitt 12
107
Abschnitt 13
127
Abschnitt 14
128
Abschnitt 15
164
Abschnitt 16
165
Abschnitt 17
192
Abschnitt 18
202
Abschnitt 19
203

Abschnitt 9
79
Abschnitt 10
91
Abschnitt 11
106
Abschnitt 20
217
Abschnitt 21
218

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Beliebte Passagen

Seite 14 - The romancer does not attempt to create "real people" so much as stylized figures which expand into psychological archetypes. It is in the romance that we find Jung's libido, anima, and shadow reflected in the hero, heroine, and villain respectively. That is why the romance so often radiates a glow of subjective intensity that the novel lacks, and why a suggestion of allegory is constantly creeping in around its fringes.
Seite 11 - ... and emotion from one human being to another, was becoming subordinated to a mechanical and communal art that, whether in the hands of Hollywood merchants or Russian idealists, was capable of reflecting only the tritest thought, the most obvious emotion. It was an art in which words were subordinate to images, where personality was worn down to the inevitable low gear of collaboration.
Seite 15 - He was a marker in industry like Edison and Lumiere and Griffith and Chaplin. He led pictures way up past the range and power of the theatre, reaching a sort of golden age, before the censorship.
Seite 11 - I saw that the novel, which at my maturity was the strongest and supplest medium for conveying thought and emotion from one human being to another, was becoming subordinated to a mechanical and communal art that, whether in the hands of Hollywood merchants or Russian idealists, was capable of reflecting only the tritest thought, the most obvious emotion.

Autoren-Profil (2007)

R. Barton Palmer is Calhoun Lemon Professor of English at Clemson University, South Carolina.

Bibliografische Informationen