Call#: Van Pelt Library PT9875.S6 A713 2001
Call#: Van Pelt Library PT9875.S6 D613 2002
Call#: Storage: From RECORD page, use Place Request tab PT9876.29.U5 B38
Call#: Storage: From RECORD page, use Place Request tab 839.71 Su73S
Call#: Storage: From RECORD page, use Place Request tab PT9875.F613 M4 1970
Call#: Van Pelt Library PG3366.A15 M38 1997
Technopoetics. cited by Gitelman Scripts Grooves
Call#: Van Pelt Library PN98.I54 P38 1988
Call#: Van Pelt Library P35 .L334 1997
"The Voice in the Machine: Hazlitt, Hardy, James" cited by Gitelman Scripts Grooves.
Call#: Van Pelt Library PN1995.3 .M8
authors and dramatists referencing film.
Holland, Norman N. Holland’s Guide to Psychoanalytic Psychology and Literature-and-Psychology. New York: Oxford UP, 1990.
Rollins, Peter C. “The Vietnam War: Perceptions Through Literature, Film, and Television.” American Quarterly. (1984). JSTOR. Oklahoma State University. University of Pennsylvania Library, Philadelphia. 31 Mar. 2006. http://links.jstor.org/sici?sici=0003-0678%281984%2936%3A3%3C419%3ATVWPTL%3E2.0.CO%3B2-Q.
The article begins by exploring the different ways in which novelists have explored the themes of the war. Many of the writers, writing from the point of view of soldiers, chose to focus on the theme of loss of innocence.
Next, the article discusses how filmmakers have interpreted the Vietnam War. Here, the article mentions The Deer Hunter. The article argues that this film is probably the most ambitious of the Vietnam films in its attempt to discuss themes of American life, but criticizes it for losing its focus at times. The themes the film attempts to explore, according to the article, are sexual and ethnic identity, the individual versus society, and civilization versus nature. The article explains that the film reaches no real conclusion about any of these issues; instead, it remains ambivalent, echoing the opinions of many Americans on such subjects.
The article concludes by exploring how television has explored the Vietnam War, examining news casts, documentaries, and propaganda. It discusses the role of Vietnam as the first “television war,” and examines how the use of television affected how Americans perceived the war and America’s role in it.
By examining the different ways each medium has treated the issue of the Vietnam War, the article concludes with a call to researchers and scholars to examine these differences and to find connections between the different interpretations.
Beidler also examines how the use of cinematography serves make The Best Years of Our Lives as true to life as possible. Most notabely, he delineates the production of “democratic shots,” in which innovative camera techniques allow for the focusing on all subjects and actions taking place in a given scene, allowing the audience to decide what to focus on. These “democratic shots” that encompass all action taking place within a given scene also lend the film the feeling of a home video. This point in particular is emphasized in the wedding scene at the end, where the guests’ mingling beforehand, the feeling of close quarters and sense of intimacy in Homer’s family’s small living room and anticipation of the bride are all conveyed through the filming. These insights into efforts to humanize the film and make it as accessible to audiences as possible plays a large role in understanding how the film was able to suceed in allowing people to relate to it, from plot to prop to filming. These less obvious qualities of the film, though small, contribute to audience’s ability to connect with it and its message, rendering it an effective tool in remembering of Word War II, specifically the profound way it changed everything.
Call#: Van Pelt Library PN56.W3 V57 1992
This book examines the portrayal of the war at different stages in books and movies of the time, and draws a correllation between the movie and the purpose it was considered to serve. In the essay “New Heroes: Post-War Hollywood’s Image of World War II,” Philip Landon strives to characterize the common war film of postwar period. He claims that “war films of that time shared a myth essentially similar to the western,” films that lacked critical acclaim due to their uniformity and generic context in portraying the war. As Paul Fussell wrote, “Hollywood shared the mass media’s aversion to examining the actual horrors of the War’s mechanized battle fronts.” The attempts of these war films were not to push any limits as far as conventions, depth and complexity of story, and level of provocation, but rather sought to create a “mythic hero remarkably well-suited to the mood and circumstances of post-war America,” as it was perceived by the studios.
This observation raises an interesting point touched upon in the biography of Samuel Goldwyn. During the war, Hollywood naturally made heroic war tales to instill sentiments of hope and pride in American citizens. However, Hollywood generally tended to apply this same belief to the immediate post-war period, Goldwyn included. Any actual dramatic portrayal of the war and its negative effects was considered a risky bet, especially casting a real-life double amputee with hooks for hands. But as the ARI analysis and the film's wild success both demonstrated, Americans were no longer disillusioned about the war, and in some way, shape or form, were seeking an outlet for this. The war had profound and negative effects on their husbands, fathers, brothers and sons who brought these effects home with them. The ability of The Best Years of Our Lives to translate the true-to-life experiences of returning veterans from all ages and socio-economic levels to film was groundbreaking at the time, and was what the American public wanted to see.
Crowe examines the sports literature read by kids. It also talks about the general feeling of Americans about sports and how that relates to the literature read.
A supplement to Literature and film: an annotated bibliography.
"A thorough reworking of a standard source. Offers approaches from the film title, author's name, and original title when it differs from the screen version. Film company or distributor, conuntry of origin, year released, and director's name are indicated, as are (where applicable) title variations, made-for-television versions, and availability on video. Indexes to musicals, television films and series, and animated features; list of studios and distributors. Most of the 6,000 films are English-language, but some major foreign releases are also included."(Balay, Guide to reference books, 11th ed, 1996; Note that this description is based on the 1993 version)


