- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846312120
- eISBN:
- 9781846315190
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846315190.001
- Subject:
- Literature, American, 20th Century Literature
This introductory chapter first sets out the main question addressed by the book: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in ...
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This introductory chapter first sets out the main question addressed by the book: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in their own writings? It covers the period from the turn of the nineteenth century up to the Second World War, and then reviews studies on the application of cinematic approaches to American fiction, followed by an overview of the subsequent chapters.Less
This introductory chapter first sets out the main question addressed by the book: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in their own writings? It covers the period from the turn of the nineteenth century up to the Second World War, and then reviews studies on the application of cinematic approaches to American fiction, followed by an overview of the subsequent chapters.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846312120
- eISBN:
- 9781846315190
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846315190.007
- Subject:
- Literature, American, 20th Century Literature
This chapter examines the works of William Faulkner, who initially used quasi-cinematic methods to represent the processes of perception, but whose novels, by the 1930s, made increasing references to ...
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This chapter examines the works of William Faulkner, who initially used quasi-cinematic methods to represent the processes of perception, but whose novels, by the 1930s, made increasing references to film. Faulkner became actively involved in screenwriting beginning in 1931, and worked regularly for MGM, Twentieth-Century Fox, and Warner Brothers throughout the 1930s and 1940s.Less
This chapter examines the works of William Faulkner, who initially used quasi-cinematic methods to represent the processes of perception, but whose novels, by the 1930s, made increasing references to film. Faulkner became actively involved in screenwriting beginning in 1931, and worked regularly for MGM, Twentieth-Century Fox, and Warner Brothers throughout the 1930s and 1940s.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846312120
- eISBN:
- 9781846315190
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846315190.005
- Subject:
- Literature, American, 20th Century Literature
This chapter examines the works of Ernest Hemingway, which emerged from a matrix of modernist experimentation wherein the nature of visual perception is explored. Hemingway presents the unique case ...
More
This chapter examines the works of Ernest Hemingway, which emerged from a matrix of modernist experimentation wherein the nature of visual perception is explored. Hemingway presents the unique case of a writer who rarely commented on film and who deliberately avoided Hollywood, only becoming interested in film-making in the 1930s; yet whose work has long attracted commentary on his cinematic method. His earliest prose explored the modes of visual representation. A series of sketches called ‘Paris 1922’ was Hemingway's first attempt at blending journalistic reportage with the imagistic precision he had been learning from Gertrude Stein.Less
This chapter examines the works of Ernest Hemingway, which emerged from a matrix of modernist experimentation wherein the nature of visual perception is explored. Hemingway presents the unique case of a writer who rarely commented on film and who deliberately avoided Hollywood, only becoming interested in film-making in the 1930s; yet whose work has long attracted commentary on his cinematic method. His earliest prose explored the modes of visual representation. A series of sketches called ‘Paris 1922’ was Hemingway's first attempt at blending journalistic reportage with the imagistic precision he had been learning from Gertrude Stein.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9781846312120
- eISBN:
- 9781846315190
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846315190.010
- Subject:
- Literature, American, 20th Century Literature
This chapter discusses the incorporation of documentary techniques in writing of the thirties. It examines the work of Eudora Welty, a writer who cross-applied photographic and cinematic methods in ...
More
This chapter discusses the incorporation of documentary techniques in writing of the thirties. It examines the work of Eudora Welty, a writer who cross-applied photographic and cinematic methods in her fiction; Tom Kromer's Waiting for Nothing (1935), a novel about Depression America told in the present tense; two documentaries by John Dos Passos, which were produced to support the democratic front in the Spanish Civil War – Spain in Flames (1937) and The Spanish Earth (1937); the documentary You Have Seen Their Faces (1937), a collaboration between the Southern novelist Erskine Caldwell and the Fortune photographer Margaret Bourke-White; and James Agee, one of the most famous documentary authors of this period, whose works combined interest in film, photography, fiction, and reportage.Less
This chapter discusses the incorporation of documentary techniques in writing of the thirties. It examines the work of Eudora Welty, a writer who cross-applied photographic and cinematic methods in her fiction; Tom Kromer's Waiting for Nothing (1935), a novel about Depression America told in the present tense; two documentaries by John Dos Passos, which were produced to support the democratic front in the Spanish Civil War – Spain in Flames (1937) and The Spanish Earth (1937); the documentary You Have Seen Their Faces (1937), a collaboration between the Southern novelist Erskine Caldwell and the Fortune photographer Margaret Bourke-White; and James Agee, one of the most famous documentary authors of this period, whose works combined interest in film, photography, fiction, and reportage.
