Cornell Woolrich from Pulp Noir to Film Noir
McFarland, 24/01/2015 - 368 من الصفحات
Extremely popular and prolific in the 1930s and 1940s, Cornell Woolrich still has diehard fans who thrive on his densely packed descriptions and his spellbinding premises. A contemporary of Hammett and Chandler, he competed with them for notoriety in the pulps and became the single most adapted writer for films of the noir period. Perhaps the most famous film adaptation of a Woolrich story is Alfred Hitchcock’s Rear Window (1954). Even today, his work is still onscreen; Michael Cristofer’s Original Sin (2001) is based on one of his tales. This book offers a detailed analysis of many of Woolrich’s novels and short stories; examines films adapted from these works; and shows how Woolrich’s techniques and themes influenced the noir genre. Twenty-two stories and 30 films compose the bulk of the study, though many other additions of films noirs are also considered because of their relevance to Woolrich’s plots, themes and characters. The introduction includes a biographical sketch of Woolrich and his relationship to the noir era, and the book is illustrated with stills from Woolrich’s noir classics.
ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
Phantom Lady 1942
The Black Angel 1943
Deadline at Dawn 1944
The Black Path of Fear 1944
Night Has a Thousand Eyes 1945
Waltz into Darkness 1947
The Boy Cried Murder March 1947
I Married a Dead Man 1948
طبعات أخرى - عرض جميع المقتطفات
a›air a›ected adapted Alibi ambiguous apartment appears becomes behavior Black Alibi Black Angel Boy Cried Murder Bride Wore Black C-Jag camera Carr character Chuck committed Cornell Woolrich crime Deadline at Dawn death detective device di›erent Dixon door dream Durand e›ect escape Estelle face fate father fear feel femme fatale film noir flashback gives guilt Helen Hitchcock homosexual husband implications innocent ironic irony Je›ries Jean Jerry Julie’s killed labyrinth Lisa lives lover Mahé male man’s Married a Dead Miss Lonelyhearts motif mystery narrator night Nightmare Nugent o›ers obsession Patrice Phantom Lady plays plot police protagonist Quinn Rear Window relationship returns role Roman scene Scott sexual short story shot Street Street of Chance style su›ers suggests suspense symbol takes tells theme Thorwald tion Tommy Triton Tru›aut uncredited Vince Vince’s voyeurism Waltz into Darkness wife woman Wool Woolrich’s novel Woolrich’s story
الصفحة 4 - I had that trapped feeling, like some sort of a poor insect that you've put inside a downturned glass, and it tries to climb up the sides, and it can't, and it can't, and it can't."There is no more perfect description of our situation in the world as Woolrich sees it.