Modern American Drama on Screen
Herausgeber: Bray, William Robert; Palmer, R Barton
Modern American Drama on Screen
Herausgeber: Bray, William Robert; Palmer, R Barton
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Focusing on key texts, leading scholars explore how Hollywood has given an enduring life to the classics of Broadway theater.
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Focusing on key texts, leading scholars explore how Hollywood has given an enduring life to the classics of Broadway theater.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 313
- Erscheinungstermin: 30. September 2013
- Englisch
- Abmessung: 236mm x 159mm x 25mm
- Gewicht: 639g
- ISBN-13: 9781107000650
- ISBN-10: 1107000653
- Artikelnr.: 37800368
- Verlag: Cambridge University Press
- Seitenzahl: 313
- Erscheinungstermin: 30. September 2013
- Englisch
- Abmessung: 236mm x 159mm x 25mm
- Gewicht: 639g
- ISBN-13: 9781107000650
- ISBN-10: 1107000653
- Artikelnr.: 37800368
Introduction R. Barton Palmer and William Robert Bray; 1. Realism,
censorship, and social promise of Dead End Amanda Klein; 2. Screening Our
Town (1940): or the problem of 'looking at everything hard enough' David
Eldridge; 3. Screening Death of a Salesman: Arthur Miller's cinema and its
discontents R. Barton Palmer; 4. Elia Kazan's A Streetcar Named Desire
William Robert Bray; 5. Come back, little Scopophile: William Inge, Daniel
Mann, and cinematic voyeurism John S. Bak; 6. The Big Knife: Hollywood's
'fable about moral values and success' Christopher Ames; 7. Adapting
Lorraine Hansberry's sociological imagination: race, housing, and health in
A Raisin in the Sun Martin Halliwell; 8. The Children's Hour Neil Sinyard;
9. Screening Long Day's Journey into Night Mary F. Brewer; 10. Who's Afraid
of Virginia Woolf? David Lavery and Nancy McGuire Roche; 11. Sex, lies, and
independent film: realism and reality in Sam Shepard's Fool for Love
Annette Saddik; 12. Actor, image, action: Anthony Drazan's Hurlyburly
(1998) Laurence Raw; 13. David Mamet brings film to Oleanna Brenda Murphy;
14. To what end Wit? John D. Sykes, Jr; 15. Theatrical, cinematic, and
domestic epic in Tony Kushner's Angels in America (on stage and screen)
Tison Pugh; Filmography.
censorship, and social promise of Dead End Amanda Klein; 2. Screening Our
Town (1940): or the problem of 'looking at everything hard enough' David
Eldridge; 3. Screening Death of a Salesman: Arthur Miller's cinema and its
discontents R. Barton Palmer; 4. Elia Kazan's A Streetcar Named Desire
William Robert Bray; 5. Come back, little Scopophile: William Inge, Daniel
Mann, and cinematic voyeurism John S. Bak; 6. The Big Knife: Hollywood's
'fable about moral values and success' Christopher Ames; 7. Adapting
Lorraine Hansberry's sociological imagination: race, housing, and health in
A Raisin in the Sun Martin Halliwell; 8. The Children's Hour Neil Sinyard;
9. Screening Long Day's Journey into Night Mary F. Brewer; 10. Who's Afraid
of Virginia Woolf? David Lavery and Nancy McGuire Roche; 11. Sex, lies, and
independent film: realism and reality in Sam Shepard's Fool for Love
Annette Saddik; 12. Actor, image, action: Anthony Drazan's Hurlyburly
(1998) Laurence Raw; 13. David Mamet brings film to Oleanna Brenda Murphy;
14. To what end Wit? John D. Sykes, Jr; 15. Theatrical, cinematic, and
domestic epic in Tony Kushner's Angels in America (on stage and screen)
Tison Pugh; Filmography.
Introduction R. Barton Palmer and William Robert Bray; 1. Realism,
censorship, and social promise of Dead End Amanda Klein; 2. Screening Our
Town (1940): or the problem of 'looking at everything hard enough' David
Eldridge; 3. Screening Death of a Salesman: Arthur Miller's cinema and its
discontents R. Barton Palmer; 4. Elia Kazan's A Streetcar Named Desire
William Robert Bray; 5. Come back, little Scopophile: William Inge, Daniel
Mann, and cinematic voyeurism John S. Bak; 6. The Big Knife: Hollywood's
'fable about moral values and success' Christopher Ames; 7. Adapting
Lorraine Hansberry's sociological imagination: race, housing, and health in
A Raisin in the Sun Martin Halliwell; 8. The Children's Hour Neil Sinyard;
9. Screening Long Day's Journey into Night Mary F. Brewer; 10. Who's Afraid
of Virginia Woolf? David Lavery and Nancy McGuire Roche; 11. Sex, lies, and
independent film: realism and reality in Sam Shepard's Fool for Love
Annette Saddik; 12. Actor, image, action: Anthony Drazan's Hurlyburly
(1998) Laurence Raw; 13. David Mamet brings film to Oleanna Brenda Murphy;
14. To what end Wit? John D. Sykes, Jr; 15. Theatrical, cinematic, and
domestic epic in Tony Kushner's Angels in America (on stage and screen)
Tison Pugh; Filmography.
censorship, and social promise of Dead End Amanda Klein; 2. Screening Our
Town (1940): or the problem of 'looking at everything hard enough' David
Eldridge; 3. Screening Death of a Salesman: Arthur Miller's cinema and its
discontents R. Barton Palmer; 4. Elia Kazan's A Streetcar Named Desire
William Robert Bray; 5. Come back, little Scopophile: William Inge, Daniel
Mann, and cinematic voyeurism John S. Bak; 6. The Big Knife: Hollywood's
'fable about moral values and success' Christopher Ames; 7. Adapting
Lorraine Hansberry's sociological imagination: race, housing, and health in
A Raisin in the Sun Martin Halliwell; 8. The Children's Hour Neil Sinyard;
9. Screening Long Day's Journey into Night Mary F. Brewer; 10. Who's Afraid
of Virginia Woolf? David Lavery and Nancy McGuire Roche; 11. Sex, lies, and
independent film: realism and reality in Sam Shepard's Fool for Love
Annette Saddik; 12. Actor, image, action: Anthony Drazan's Hurlyburly
(1998) Laurence Raw; 13. David Mamet brings film to Oleanna Brenda Murphy;
14. To what end Wit? John D. Sykes, Jr; 15. Theatrical, cinematic, and
domestic epic in Tony Kushner's Angels in America (on stage and screen)
Tison Pugh; Filmography.