Film and Literature: An Introduction and Reader

Abstract

Introduction. I. FILM AND LITERATURE IN THE CROSSCURRENTS OF HISTORY. 1. The Prehistory of Film and Literature. 2. Filming Literature: From Preclassical Film and Literature to Classical Form, 1895-1925. 3. Testing and Expanding the Value of Film and Literature, 1915-1940. 4. Pens, Pulp, and the Crisis of the Word, 1940-1960. 5. Academic Cinema and International Spectacles: 1960-1980. 6. Books and Movies as Multimedia: Into the 1990s. II. CRITICAL BORDERS AND BOUNDARIES: ANALYTICAL CATEGORIES FOR FILM AND LITERATURE. 7. Themes, Narratives, and Elements of Style. 8. Genres and Other Assumptions. III. MAJOR DOCUMENTS AND DEBATES. 9. Historical Positions. Vachel Lindsay, Progress and Endowment. Hugo Munsterberg, The Means of Photoplay. Gabriela Mistral, The Poet's Attitude Toward the Movies. Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. Sergei Eisentstein, Dickens, Griffith, and the Film Today. Bela Balazs, The Script. Alexandre Astruc, The Birth of a New Avant-Garde: La Camera-Stylo. Andre Bazin, Theater and Cinema. George Bluestone, The Limits of the Novel and the Limits of the Film. P. Adam Sitney, The Lyrical Film. Alexander Kluge, Edgar Reitz, and Wilfried Reinke, Word and Film. 10. Current Perspectives and Methods. Leo Braudy, Acting: Stage vs. Screen. Kristin Thompson, Novel, Short Story, Drama: The Conditions for Influence. Dudley Andrew, Adaptation. Judith Mayne, Readership and Spectatorship. Millicent Marcus, Pasolinis Decameron: Writing with Bodies. Mark A. Reid, Literary Forces Encouraging the Use of Black Writers. Michael Renov, Lost, Lost, Lost: Mekas as Essayist. Lynda E. Boose and Richard Burt, Totally Clueless? Shakespeare Goes Hollywood in the 1990s. Bibliography. Index.

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