- Series: The South on Screen Ser.
- Hardcover: 320 pages
- Publisher: University of Georgia Press (August 1, 2017)
- Language: English
- ISBN-10: 082035113X
- ISBN-13: 978-0820351131
- Product Dimensions: 6 x 0.9 x 9 inches
- Shipping Weight: 1.4 pounds (View shipping rates and policies)
- Average Customer Review: 1 customer review
- Amazon Best Sellers Rank: #2,273,518 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ Free Shipping
+ Free Shipping
+ $3.99 shipping
William Faulkner in Hollywood: Screenwriting for the Studios (The South on Screen Ser.) Hardcover – August 1, 2017
|New from||Used from|
Customers who bought this item also bought
Try the Kindle edition and experience these great reading features:
Showing 1-1 of 1 reviews
There was a problem filtering reviews right now. Please try again later.
Filthy lucre lured many major writers to Hollywood in its golden age, including Dorothy Parker, F. Scott Fitzgerald, S. J. Perelman, Nathanael West, John Steinbeck, Anthony Powell, Aldous Huxley and William Faulkner.
Between 1932 and 1955 Faulkner spent a total of four years working in Hollywood and notwithstanding some friendships, most notably with Howard Hawks, and an affair with Hawk’s script clerk, Meta Carpenter, Faulkner hated the place: “Nothing ever happens’, he wrote, “I don’t like the climate, the people, the way they live.” Not least amongst the reasons for Faulkner’s hostility to Tinseltown was his feeling that he'd not only sold out in producing “trash and junk writing for movies” but had also done so for less than the market rate - he certainly seems to have driven a bad bargain with the studios compared with most of his peers.
Stefan Solomon’s ‘William Faulkner in Hollywood’ examines the novelist’s screenwriting for the big screen and television and certainly makes a good case for the thesis that Faulkner’s ‘hack’ work, for all its particular demands and frustrations, sheds important light on his more ‘serious’ work, given factors such as their shared thematic preoccupations.
Although Solomon generally seems to have been exceptionally diligent in combing the archives and the secondary literature, he appears to be unaware, judging by his bibliography, not only of Richard Gray’s 1994 biography of Faulkner but also of Gray’s very germane lecture on Faulkner and Hollywood which was published in Volume 131 of the ‘Proceedings of the British Academy’ in 2004. This publication not only pays particular attention to Faulkner’s film treatment of ‘Sanctuary’ (the success of which as a novel had originally led to his being summoned by MGM) but also discusses Faulkner’s relationship with “noir narrative”, which characterised so much of the fiction of the 1930s and 1940s, and which later seeped into film noir, through films such as ‘The Big Sleep’ and ‘To Have and Have Not’, which are amongst Faulkner's screenwriting credits.
Even those unwilling to overlook this oversight and Solomon’s omission of a formal conclusion would, however, have to admit that ‘William Faulkner in Hollywood’ represents a very valuable addition to Faulkner studies.