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This book is the first full-length study to focus on the various
film adaptations of Patricia Highsmith's novels, which have been a
popular source for adaptation since Alfred Hitchcock's Strangers on
a Train (1952). The collection of essays examines films such as The
Talented Mr. Ripley, The Two Faces of January, and Carol, includes
interviews with Highsmith adaptors and provides a comprehensive
filmography of all existing Highsmith adaptations. Particular
attention is paid to queer subtexts, mythological underpinnings,
philosophical questioning, contrasting media environments and
formal conventions in diverse generic contexts. Produced over the
space of seventy years, these adaptations reflect broad cultural
and material shifts in film production and critical approaches to
film studies. The book is thus not only of interest to Highsmith
admirers but to anyone interested in adaptation and transatlantic
film history.
This volume is dedicated to the elusive category of the Hitchcock
Touch, the qualities and techniques which had manifested in Alfred
Hitchcock's own films yet which cannot be limited to the realm of
Hitchcockian cinema alone. While the first section of this
collection focuses on Hitchcock's own films and the various people
who made important artistic contributions to them, the subsequent
chapters draw wider circles. Case studies focusing on the branding
effects associated with Hitchcockian cinema and its seductive
qualities highlight the paratextual dimension of his films and the
importance of his well-publicized persona, while the final section
addresses both Hitchcock's formative period, as well as other
filmmakers who drew upon the Hitchcock Touch. The collection not
only serves as an introduction to the field of Hitchcock
scholarship for a wider audience, it also delivers in-depth
assessments of the lesser-known early period of his career, in
addition to providing new takes on canonical films like Vertigo
(1958) and Frenzy (1972).
Unlike previous efforts that have only addressed literary twinship
as a footnote to the doppelganger motif, this book makes a case for
the complexity of literary twinship across the literary spectrum.
It shows how twins have been instrumental to the formation of
comedies of mistaken identity, the detective genre, and dystopian
science fiction. The individual chapters trace the development of
the category of twinship over time, demonstrating how the twin was
repeatedly (re-)invented as a cultural and pathological type when
other discursive fields constituted themselves, and how its
literary treatment served as the battleground for ideological
disputes: by setting the stage for debates regarding kinship and
reproduction, or by partaking in discussions of criminality,
eugenic greatness, and 'monstrous births'. The book addresses
nearly 100 primary texts, including works of Mary Elizabeth
Braddon, Wilkie Collins, Charles Dickens, Arthur Conan Doyle,
Aldous Huxley, Christopher Priest, William Shakespeare, and Zadie
Smith.
Unlike previous efforts that have only addressed literary twinship
as a footnote to the doppelganger motif, this book makes a case for
the complexity of literary twinship across the literary spectrum.
Shortlisted for the ESSE Book Award 2022 (Literatures in the
English Language), it shows how twins have been instrumental to the
formation of comedies of mistaken identity, the detective genre,
and dystopian science fiction. The individual chapters trace the
development of the category of twinship over time, demonstrating
how the twin was repeatedly (re-)invented as a cultural and
pathological type when other discursive fields constituted
themselves, and how its literary treatment served as the
battleground for ideological disputes: by setting the stage for
debates regarding kinship and reproduction, or by partaking in
discussions of criminality, eugenic greatness, and 'monstrous
births'. The book addresses nearly 100 primary texts, including
works of Mary Elizabeth Braddon, Wilkie Collins, Charles Dickens,
Arthur Conan Doyle, Aldous Huxley, Christopher Priest, William
Shakespeare, and Zadie Smith.
This book is the first full-length study to focus on the various
film adaptations of Patricia Highsmith's novels, which have been a
popular source for adaptation since Alfred Hitchcock's Strangers on
a Train (1952). The collection of essays examines films such as The
Talented Mr. Ripley, The Two Faces of January, and Carol, includes
interviews with Highsmith adaptors and provides a comprehensive
filmography of all existing Highsmith adaptations. Particular
attention is paid to queer subtexts, mythological underpinnings,
philosophical questioning, contrasting media environments and
formal conventions in diverse generic contexts. Produced over the
space of seventy years, these adaptations reflect broad cultural
and material shifts in film production and critical approaches to
film studies. The book is thus not only of interest to Highsmith
admirers but to anyone interested in adaptation and transatlantic
film history.
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