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• W30475306 abstract "In the 1930s, the Paramount film corporation attempted to establish itself as different than, and superior to, other Hollywood film companies-such as MGM and Universal-by employing established writers like Dorothy Parker, William Faulkner and John Dos Passos. This strategy was meant to improve the quality of scripts that were being pumped out by Los Angeles script factories. Whether these writers improved the quality of Hollywood scripts is of course questionable; nonetheless, Paramount continued to merge mass culture and literary work by soliciting manuscripts from such diverse modernist authors as Blaise Cendrars and Theodore Dreiser.1 As well as being hired to adapt Cendrars's novel into a feature film. Sergei Eisenstein was employed to work on an adaptation of Dreiser's An American Tragedy. However, the Marxist version of Dreiser's novel which Eisenstein developed was later dropped by Paramount because of the radical ideological implications of the film (Cook 322). Approximately one year later, in 1931, Josef von Sternberg was employed to continue work on An American Tragedy and directed a low-budget version of the novel that transformed Dreiser's social criticism into a tale of erotic obsession. Dreiser, of course, was outraged by this treatment of his novel and brought a lawsuit against the Paramount-Publix Corporation, which resulted in a failed attempt at halting the film's release due to the 'inartistic' adaptation of his novel (Strychacz 84). Although Dreiser had sold the complete rights of his book to Paramount for the sum of $135.000.00, the contract stated that the author of the novel had a legal right to suggest changes to the script before filming began.2 Upon review of the script prior to production, Dreiser wrote a letter to the executives at Paramount claiming that the script would result in a sensationalist, cheap and tawdry confession story. Threatening legal action, Dreiser stated: Even though they buy the right of production, they don't buy the right to change it into anything they please.... They can't make a piece of work that is inimical to my standards, and picture me as writing something I never in the world would have written (Strychacz 85). Unfortunately, Dreiser's complaints regarding this script were ignored; as a result, he sued Paramount to have an injunction placed on the film's release. Dreiser, however. lost the case but gained much public attention, and the courthouse provided a forum from which the novelist could disseminate his ideas regarding film adaptations, as well as the corrupt practices of the Hollywood film industry. Dreiser's comments regarding the nature of Hollywood productions are all too familiar.3 In light of this, it seems strange that Dreiser would have accepted a contract that not only sold the rights of the novel to Hollywood, but also excluded him from participating in the final production. Surely Dreiser must have been aware of Paramount's objection to Eisenstein's adaptation of L'Or; if not, Dreiser must have been aware of the restrictions that Goldwyn Pictures placed on Erich von Stroheim's film adaptation of Frank Norris's naturalistic novel MacTeague in 1924.(4) Regardless of how much Dreiser knew about the workings of mainstream cinema, his court case and his relationship to Hollywood in general, is synecdochic of the complex relationship that other early twentieth century authors had with the American film industry. On the one hand, the mass culture industry that Hollywood represented offered authorslike Dreiser-a forum other than the textual from which their work could be presented. By the 1930s, this forum had grown in popularity to include millions of Americans. As a result, the medium of film served as a means of exposing the work of a novelist to a large segment of the population. The promise of fame outside of the literary world, as well as the colossal amounts of money offered by the motion picture industry, must have been very attractive to Dreiser and his contemporaries. …" @default.
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• W30475306 date "1999-01-01" @default.
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• W30475306 title "The Man with a Camera Eye: Cinematic Form and Hollywood Malediction in John Dos Passos's the Big Money" @default.
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