By Deborah Cartmell
This can be a complete number of unique essays that discover the aesthetics, economics, and mechanics of motion picture version, from the times of silent cinema to modern franchise phenomena. that includes more than a few theoretical ways, and chapters at the historic, ideological and monetary features of version, the quantity displays today’s reputation of intertextuality as an essential and innovative cultural force.
* contains new examine in edition reports* includes a bankruptcy at the Harry Potter franchise, in addition to different modern views* Showcases paintings by way of top Shakespeare variation students* Explores attention-grabbing issues akin to ‘unfilmable’ texts* comprises distinctive concerns of Ian McEwan’s Atonement and Conrad’s Heart of Darkness
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Additional info for A Companion to Literature, Film and Adaptation
1935) Waiting for Lefty ( 1935) and Golden Boy ( 1937); and Nathaneal West, Day of the Locust (1 939). , 1968). Representative examples of writing include Raymond Chandler, Big Sleep ( 1939), Farewell my Lo~>ely ( 1940) , and 71te Lady in the Lake ( 1944); )ames M. Cain, Double Indemnity ( 1935); and Ernest Hemingway, 1o Have and Have Not ( 1937) and For Whom the Bell1olls ( 1940) (all filmed in the 1940s by Hollywood). eralllre: Eight Essays (Edinburgh, 1986), 32-44. Ho mberger finds parallels in the experiences o f novelists with my account of HollywoodS response to po-St-war Ame rica.
Indeed, there was virtually no interest on the part of the New Dealers in helping women to realize their social and political goals. Women did not vote as a united constituency and did not organize themselves around women's issues. Reforms which could have helped women 29 A Divided World secure equality were resisted. Unequal pay continued, assisted by government equivocation on the issue. No progress was made towards establishing state childcare facilities. "' The urgent preoccupation with the economic problems of the cotmtry militated against any concerted action on behalf of a feminist programme.
Others, like Lundberg and Farnham, argued that women had lost their direction through misconceived efforts to imitate men; they had rejected their natural instincts, under the malign influence of feminism, and had been cast adrift. 65 ·Their views were shared and supported by the Ladies' Home journal and McCalls. Similar sentiments appeared in writings about women's education and employment. Hollywood films also contributed to these negative perceptions of women, albeit in a more d ramatic and overstated fashion.
A Companion to Literature, Film and Adaptation by Deborah Cartmell