Considering that he worked a stint as a screen writer, it will
come as little surprise that Faulkner has often been called the
most cinematic of novelists. Faulkner's novels were produced in the
same high period as the films of classical Hollywood, a reason
itself for considering his work alongside this dominant form.
Beyond their era, though, Faulkner's novels--or the ways in which
they ask readers to see as well as feel his world--have much in
common with film. That Faulkner was aware of film, and that his
novels' own "thinking" betrays his profound sense of the medium and
its effects, broadens the contexts in which he can be
considered.
In a range of approaches, the contributors consider Faulkner's
career as a scenarist and collaborator in Hollywood, the ways his
screenplay work and the adaptations of his fiction informed his
literary writing, and how Faulkner's craft anticipates, intersects
with, or reflects upon changes in cultural history across the
lifespan of cinema.
Drawing on film history, critical theory, archival studies of
Faulkner's screenplays and scholarship about his work in Hollywood,
the nine essays show a keen awareness of literary modernism and its
relation to film.
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