John Dos Passos and Cinema

Lisa Nanney

The first study of his little-known screen writing John Dos Passos and Motion Pictures: Writing Film Film Writing uses unpublished manuscripts and correspondence to explore how he adapted film aesthetics to structure his modernist novels of the 1920s and 1930s then beginning in the 1940s attempted to revise those novels directly into screenplays reflecting the controversial conservative political shift that redefined his later literary career.

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John Dos Passos and Cinema

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

Acknowledgments
pp vii-viii

Introduction
pp 1-8

Part I - (1917–1928) From the Stage to the Screen: “Goin’ to the Movies…” in the Great War and the 1920s
pp 9-10

1 - Experimental Drama and Soviet Constructivist Theater
pp 11-24

2 - The Birth of an Industry: Setting the Stage for the Screen
pp 25-36

3 - “Propaganda for peace”: Film and Narrative in One Man's Initiation: 1917 (1920), Three Soldiers (1921), and D.W. Griffith's Hearts of the World (1918)
pp 37-62

4 - Soviet Film: Montage, the Camera Eye, and Ideology
pp 63-74

Part II - (1934–1937) From Paramount Studios to the Spanish Front: Writing Hollywood, Filming History
pp 75-76

5 - “The world's greatest center of … propaganda”: Hollywood, The Devil Is a Woman, and The Big Money
pp 77-100

6 - Film Writing: “Dreamfactory,” Metafilm, and the Politics of Form
pp 101-126

7 - Filming History and The Spanish Earth: “what a man and a comrade has to do in … wartimes”
pp 127-156

Part III - (1937–1970) From Page to Stage to Screens: Adapting U.S.A. and “the truth as I see it”
pp 157-158

8 - Filmic Narrative into Narrative Film: “politics and the silver screen”
pp 159-182

Conclusion
pp 183-194

Appendix
pp 195-216

Notes
pp 217-242

Index
pp 243-252

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John Dos Passos and Cinema

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