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• W75155472 abstract "George Bluestone op4# Novels into Film: Metamorphosis of Fiction into Cinema by paralleling D.W. GriffithS reported statement in 1913 that, The task I'm trying to achieve is above all to make you see, with Joseph Conrad's claim in Preface to Nigger of Narcissus that, task which I am trying to achieve is, by power of written word, to make you hear, to make you feel-it is, before all, to make you (1). Who, however, wants whom to see what, and why, are issues that have since been gaining attention. This paper examines what position Wind (1928) occupies among intersections of narrative, technology, and ideology of gender. As it exists, Wind partially undoes sexual economies of sentimental tragedy and heroine as victim, which early cinema inherited from a long-established melodramatic tradition itself derived from eighteenth-century novel.l undoing is only partial, though, because, if Lillian Gish's Letty escapes an absolutely victimized condition, nonetheless she is far from free. Still, this essay will argue that movie represents what can only be characterized as an improvement on its novelistic sources in heroine's situation, and, moreover, does so precisely because it is a work of mass culture. My analysis thus calls into question both Theodor Adorno's pessimistic view of popular culture and old-fashioned contempt for film as ersatz entertainment of such readings based on Adorno as that of Richard Keller Simon.2 Introducing Wind when it was shown on Turner Network Television in summer of 1990, Gish explained that she selected novel to be basis for her next film; wrote four-page treatment that served as starting point for screenplay; and selected both director, Victor Sjostrom, and male lead, Lars Hanson, both Swedes and outsiders in Hollywood. When one adds that Dorothy Scarborough wrote 1925 book and that durable Marion Frances-one of Hollywood's most resilient female scriptwriters-got script credit, Wind appears to have been one of more feminized products of silent Hollywood.3 film as we have it, however, is not quite film as it was planned. Gish recalled how everyone making movie intended an ending in which the woman runs into desert to die, and Marion Frances reported in her memoir, Off With Their Heads, that she begged Irving Thalberg, `But no happy ending, Irving. Please not that!' 'I agree with you. No happy ending' (159; qtd. in Forslund 214). As Gish continued in her broadcast introduction, One unhappy ending could ruin your career, and I'd already had seven! So we were forced to tack on a happy ending, which we all felt was unjust. exhibitors, crass money men-and they generally were men-forced artists to compromise their standards in order to propitiate perceived mass-market preferences; or, to put matter another way, they refused to let heroine suffer death for crime of having been raped. Such a paradoxical inversion of roles that might be expected of women artists and male capitalists calls for an examination of ideological origins of Wind. How survival of a rape victim could be regarded as morally unjust is a question whose answer extends far back before motion pictures, or photographs for that matter, were invented. Before film's male and female spectators-and before cinematic apparatus-came readers.4 Since classical cinema is cinema as narrative-as fabula via syuzhet, as David Bordwell puts it ( 18)the history of narrative before invention of technology of cinema helped shape and can illuminate metastructural invention of cinema as narrative. stage had a powerful direct influence on American film, especially but not only in early sound era, when Broadway half emptied itself into Hollywood (an era already under way when Wind appeared, year after Jazz Singer), but theater had not been socially predominant method of storytelling for well over a century when film began. …" @default.
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• W75155472 date "1997-01-01" @default.
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• W75155472 title "Potboiler emancipation and the prison of pure art: Clarissa, The Wind and surviving rape" @default.
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