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Winner of two Best Director Oscars--for A Place in the Sun (1951) and Giant (1956)--Stevens excelled in a range of genres, gave luster to some of Hollywood's brightest stars and was revered by his peers. Yet his work has been largely neglected by critics and scholars.
This career retrospective highlights Stevens' achievements, particularly in his sweeping "American Dream" trilogy (A Place in the Sun, Shane (1953) and Giant). His recurrent themes and characteristic style reveal a progressive attitude towards women's experiences and highlight the continued relevance of his films today.
This new critical study of Wyler's work, the first in more than thirty years, challenges the notion of Wyler's impersonality and offers a comprehensive reappraisal of his work, particularly of the underrated postwar films. It also provides a rebuttal of the auteurist criticism whose rigid categorization of directors cannot adequately encompass the range of someone like Wyler, who put substance above style and had a breadth of human understanding that was not reducible to a cluster of characteristic themes. Supported by archival research in Los Angeles, the book traces the important milestones in Wyler's career, the context of his films, the importance of legendary producer Sam Goldwyn, his distinguished war record and his principled opposition to blacklisting during the McCarthy era.
This is a comprehensive survey of the relationship between film and literature. It looks at the cinematic adaptations of such literary masters as Shakespeare, Henry James, Joseph Conrad and D.H. Lawrence, and considers the contribution to the cinema made by important literary figures as Harold Pinter, James Agree and Graham Greene. Elsewhere, the book draws intriguing analogies between certain literary and film artists, such as Dickens and Chaplin, Ford and Twain, and suggests that such analogies can throw fresh light on the subjects under review. Another chapter considers the film genre of the bio-pic, the numerous cinematic attempts to render in concrete terms the complexities of the literary life, whether the writer be Proust, Joyce, Oscar Wilde, Dashiel Hammett, Agatha Christie or Boris Pasternak.
Originally published in 1986, this is a book to appeal to any reader with an interest in film or literature, and is of especial value to those involved in the teaching or study of either subject.