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Genre (2006) 39 (2): 352–357.
Published: 01 June 2006
...William B. Covey Conrad Mark T. , Ed. The Philosophy of Film Noir . Lexington, KY : University Press of Kentucky , 2006 . xv , plus 248 pp. COPYRIGHT © 2007 BY THE UNIVERSITY OF OKLAHOMA 2007 352 GENRE Mark T. Conrad, Ed. The Philosophy...
Genre (2008) 41 (1-2): 211–215.
Published: 01 March 2008
...Luke Carson McCabe Susan , Cinematic Modernism: Modernist Poetry and Film . Cambridge UK : Cambridge UP , 2005 . 284 pp. COPYRIGHT © 2008 BY THE UNIVERSITY OF OKLAHOMA 2008 Susan McCabe, Cinematic Modernism: Modernist Poetry and Film. Cambridge UK: Cambridge UP, 2005. 284 pp...
Genre (2013) 46 (3): 189–211.
Published: 01 December 2013
... of movement and space in previous adaptations of Jane Austen. In the 2005 film Pride & Prejudice , activities as simple as walking through the house or circling on the dance floor constitute a kinesthetic language for making interior spaces visible in temporal and spatial terms. Instead of inferring...
Genre (2018) 51 (2): 133–158.
Published: 01 July 2018
...W. D. Phillips Aesthetic histories of the stag film tend to place it in a straightforward lineage of pornographic imagery such that the film genre emerges more or less fully formed. Discursive histories, however, have noted that the term does not concretize in relation to the film form until...
Genre (2021) 54 (2): 245–264.
Published: 01 July 2021
... this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like...
Genre (2014) 47 (1): 79–102.
Published: 01 April 2014
...Debra Shostak Isabel Coixet's 2008 adaptation of Philip Roth's Dying Animal (2001) signals in its title, Elegy , the conceptual divergence of the film from its source. Roth's title expresses the inescapable reality of the mortal body, its desires, decay, and disappearance; Coixet turns from...
Genre (2014) 47 (3): 335–356.
Published: 01 December 2014
...Lee Clark Mitchell Cormac McCarthy's novel No Country for Old Men (2005), like Ethan Coen and Joel Coen's film adaptation (2007), poses two genres against one another, drawing on film noir techniques to defy what their Western materials seem to solicit. Fleeting gestures at wide-open landscape...
Published: 01 July 2021
Figure 1. Opening web page of Marisha Pessl's Night Film (2014a). This image is a scan of the book itself. Figure 1. Opening web page of Marisha Pessl's Night Film (2014a). This image is a scan of the book itself. More
Published: 01 July 2021
Figure 2. Web page in Marisha Pessl's Night Film (2014a: 184). This image is a scan of the book itself. Figure 2. Web page in Marisha Pessl's Night Film (2014a: 184). This image is a scan of the book itself. More
Genre (2016) 49 (1): 79–94.
Published: 01 April 2016
...Manuel Betancourt Given the Argentine writer Manuel Puig's penchant for using and skewering studio Hollywood films and stars in novels such as Betrayed by Rita Hayworth , he has often been understood as partaking in the discourse of camp. This article takes as a jump-off point the contention...
Genre (2017) 50 (3): 343–370.
Published: 01 December 2017
...Ben Robbins This article analyzes William Faulkner’s 1951 prose drama hybrid narrative Requiem for a Nun as an adaptation of two “women’s films” that he worked on as a Hollywood screenwriter in the 1940s, The Damned Don’t Cry (completed in 1941, released in 1950) and Mildred Pierce (completed...
Genre (2021) 54 (3): 341–367.
Published: 01 December 2021
...Ed Cameron This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film...
Genre (2019) 52 (2): 109–125.
Published: 01 July 2019
...Peter Kratzke Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode...
Genre (2019) 52 (3): 207–228.
Published: 01 December 2019
...Joanna Mansbridge Among the recent spate of independent vampire films, Jim Jarmusch’s Only Lovers Left Alive uniquely depicts vampires whose immortality is under threat in a world tainted by environmental toxins. Facing their mortality as we humans face our own extinction, Adam and Eve are vampires...
Genre (2015) 48 (3): 383–404.
Published: 01 December 2015
... outside improvement's profitizing calculus and the choice to allow such experiences to remain unheard and erode away undetected. This tension informs Thomas Hardy's Tess of the d'Urbervilles (1891) and Michael Winterbottom's Trishna (2011), a recent film adaptation of the novel set in twenty-first-century...
Genre (2017) 50 (2): 219–238.
Published: 01 July 2017
...Peter Buse This article examines the place of film comedy in Jacques Lacan's psychoanalysis. It takes as its starting point Lacan's most extensive consideration of a single film, the comedy Never on Sunday (1960), directed by Jules Dassin and set in the Greek port of Piraeus. It places Lacan's...
Genre (2011) 44 (1): 5–27.
Published: 01 March 2011
...Angela Frattarola This article interrogates the auditory narrative of Dorothy Richardson's multivolume work, Pilgrimage . By drawing on her film column in Close Up , where she champions the silent film with musical accompaniment over the talkie, Frattarola explicates the significance...
Genre (2018) 51 (1): 27–52.
Published: 01 April 2018
... ), was in dialogue with both Jean-Pierre Melville’s crime films (notably Le samouraï [ The Samurai ]) and with a broader tradition of Anglophone crime film and fiction, the article argues for the importance of masculinity to understanding Manchette’s efforts to radicalize the roman noir (crime novel) and subvert...
Genre (2020) 53 (2): 135–157.
Published: 01 July 2020
... of “novelism” (adjacent to notions like lyricism and essayism) as a flexible and mobile mode of associative world-building across the arts. We can see novelism at play in the intermedial history of how novelistic forms and concerns informed the cinematic genre of the essay film. By recovering that history...
Genre (2021) 54 (1): 139–165.
Published: 01 April 2021
... that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth‐century long poem, when written in an era of megatextuality? Rachel...