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Full Description
The book features previously unpublished
manuscripts and correspondence illustrating case studies of John Dos Passos' screen writing
for Paramount Pictures (1934); his role in writing and filming The Spanish Earth (1937), a Spanish
Civil War relief project whose circumstances culminated in his public break
from the Left; the 1936 screen treatment he wrote just before The Spanish Earth in consultation with
its director, Joris Ivens; and his later-career attempts, beginning in the
1940s, to adapt his radically innovative trilogy U.S.A. directly for the screen and to realign its leftist politics
toward the anti-Communist conservatism reflected in his work and activism after
the 1930s and the disillusionments of the Spanish Civil War. It thus provides a
new context for and reading of his political reorientation in the 1930s that
not only ended his long friendship with Ernest Hemingway but also evoked the
opprobrium of his former champions on the Left and redefined his literary
career.
Contents
Introduction
Part I (1917-1928) From the Screen to the Page: "Goin' to the
movies..." in the Great War
Chapter
1
Dos
Passos and Soviet Filmmakers: Meyerhold, Vertov, Eisenstein, and the
Development of Montage
Chapter
2
Dos
Passos and U.S. Film: D.W. Griffith, The Birth of a Nation (1915), and Hearts
of the World (1918)
Chapter
3
"Propaganda
for peace": Film and Narrative in One Man's Initiation: 1917 (1920) and Three
Soldiers (1921)
Part II (1934-37) From Paramount Studios to the Spanish
Front: Writing Hollywood, Filming History
Chapter 4
"[T]he
world's greatest center of...propaganda": Hollywood and The Devil Is a Woman
Chapter 5
Dos
Passos and Joris Ivens: "Dreamfactory" and Meta-film
Chapter 6
Dos
Passos, Ivens, and Hemingway: The Spanish Earth and the Death of Jose
Robles
Chapter 7
"Go
home and try to tell the truth": Revision and Reception of The Spanish Earth
Part III (1947-70) U.S.A. From Page to Stage to
Screens: Political and Structural Revisions
Chapter 8
Filmic
Narrative Into Narrative Film: Dos Passos Drafting U.S.A. for the Screen
(1947-56)
Chapter 9
Negotiation
and Adaptation: U.S.A. Under Option, Adapted for Television, and
Produced for the Stage (1959-60)
Chapter 10
Early
Aesthetics Through the Lens of Late Politics (1960-70)
