... complement to Jay David Bolter and Richard Grusin’s concept of remediation, inflected the form of several works of the 1920s, including F. Scott Fitzgerald’s Great Gatsby . Copyright © 2017 by University of Washington 2017 twentieth-century American literature Hollywood cinema media studies F...

... communication with Hollywood cinema than with any other cultural discourse of the period. This is not to say that Stein, any more than all of those Fred Astaire musicals and society comedies, was wholly, or even primarily, intent on class manipulation, but simply...

... 335 Hitchcock: From Theater to Cinema to Hollywood Beyond Sabotage itself, Hitchcock left no commentary on the play Conrad could not bear to watch. Although allusions and verbal nuances indicate that Hitchcock and his collaborators returned closely to the novel...

... Ford Coppola’s Godfather. But Killen’s genea- logical backstory of this new Hollywood cinema peters out prematurely, slighting some of these films’ most important precursors, including European art films such asBlow-Up , Jean-Luc Godard’s Masculine Femi- nine, and Ingmar Bergman’s Persona...

... discourses that serve the ad hoc marketing needs of the film industry — genre has been an institutional matter. Yet cinema during the Seventeen Years, despite some surprising similarities to Hollywood, was no subsidiary of it. The power structure was dominated not by marketing concerns — film...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

... and over- head crane shots unsettle the mise-en-scène organizing classic Hollywood cinema; Cross Damon’s ghostly assumption of new murderous identities, in Wright’s novel The Outsider, defies the organization of the Communist Party in New York. New Deal modernist doubling—the ability to see oneself...

..., the ‘solution.’ ”3 For Max Horkheimer and Theodor W. Adorno, the Hollywood movie is the quintessential end-oriented cultural product. Its value is determined completely by its conclusion, which can be glimpsed in every moment of the text: “As soon as the film begins, it is quite clear how it will end...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

..., in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June 2006 tionship between the cinema of poetry and its prosaic double had changed...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

... constructed their poetic redoubts. For Serge Daney, the rela- 2  “ ‘Evolution of the New Wave’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA...

...’: Truffaut in Interview with Jean-Louis Comolli, Jean Narboni,” trans. David Wilson, in Cahiers du Cinéma: 1960 – 1968 — New Wave, New Cinema, Reevaluating Hollywood, ed. Jim Hillier (Cambridge, MA: Harvard University Press, 1992), 109. 286 MLQ June...

..., living hand-to-mouth as a Hollywood extra. Engaged to play a general in a film about the events of 1918, the fallen officer is reunited with the uniform of which the Bolsheviks had rudely stripped him, only to die while shooting a battle scene whose fury ignites a noble charisma long since...

... desires for luxury. Parochial fears fed a moral panic over imported entertainments, including Hollywood lm and foreign danc- ing, that were thought disruptive to traditional Irish life. The moral dimension of these discussions should be understood within the context of the s population crisis...