Description
Book SynopsisFrom its beginnings, the American film industry has profited from bringing popular and acclaimed dramatic works to the screen. This is the first book to offer a comprehensive account, focusing on key texts, of how Hollywood has given a second and enduring life to such classics of the American theater as Long Day's Journey into Night, A Streetcar Named Desire and Who's Afraid of Virginia Woolf? Each chapter is written by a leading scholar and focuses on Broadway's most admired and popular productions. The book is ideally suited for classroom use and offers an otherwise unavailable introduction to a subject which is of great interest to students and scholars alike.
Table of ContentsIntroduction 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.
