Patricia Highsmith on Screen

This book is the first full-length study to focus on the various film adaptations of Patricia Highsmith's novels, which have been a popular source for adaptation since Alfred Hitchcock's Strangers on a Train (1952). The collection of essays examines films such as The Talented Mr. Ripley, T...

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Médium: Elektronický zdroj E-kniha
Jazyk:English
Vydavateľské údaje: Cham : Springer International Publishing, 2018.
Vydanie:1st ed. 2018.
Edícia:Palgrave Studies in Adaptation and Visual Culture
Predmet:
Motion pictures.
America-Literatures.
ISBN:9783319960500
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Obsah:
  • 1. Introduction: Patricia Highsmith on Screen, Douglas McFarland and Wieland Schwanebeck
  • 2. The Dark Side of Adaptation, Thomas Leitch
  • Section I: Doubles, Copies, and Strangers
  • 3. "I Meet a Lot of Guys--But Not Many Like You": Strangers and Types in Highsmith's and Hitchcock's Strangers on a Train, Bran Nicol
  • 4. Strangers on a Park Bench: From Highsmith to Alfred Hitchcock to Woody Allen, Klara Stephanie Szlezák
  • 5. Tom Ripley's Talent, Murray Pomerance
  • 6. Ripley Under Ground and Its Illegitimate Heirs, Wieland Schwanebeck
  • Section II: Queer Encounters
  • 7. Queer Ripley: Minghella, Highsmith, and the Anti-Social
  • David Greven
  • 8. The Price of Salt, Carol, and Queer Narrative Desire(s), Alison L. McKee
  • 9. "Easy Living": From The Price of Salt (78) to Carol (EP), Robert Miklitsch
  • Section III: Aesthetic, Mythic, and Cultural Transaction
  • 10. Adapting Irony: Claude Chabrol's The Cry of the Owl, Douglas McFarland
  • 11. With Friends Like These: Wim Wenders' The American Friend as Noir Allegory, Christopher Breu
  • 12. Hans Geissendörfer's Psychological Noir: West-German Adaptations of Patricia Highsmith Novels, Erin Altman and William Mahan
  • 13. Authorship and Scales of Adaptation in Chillers, Kristopher Mecholsky
  • 14. The Two Faces of January: Theseus and the Minotaur, Catherine McFarland
  • Section IV: Adapters in Conversation
  • 15. Memories of The American Friend, Wim Wenders
  • 16. "Highsmith really writes films", Hans W. Geißendörfer
  • 17. "An interesting lack of sentimentality", Hossein Amini
  • 18. "Highsmith was the queen of guilt", Phyllis Nagy.

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