Hi, again: I use the films primarily for students to consider
the different adapative choices that were made and possible
reasons why--e.g., the romance btw. Marlowe and Vivian in
Hawks's The Big Sleep vs. what we find in Chandler. Or, as
another example, the shift from the mob-as-enemy in Kiss Me
Deadly to the atomic threat.
Thanks for the fantastic suggestions---believe me, as this
hits Mach II, I will give Rara-Avis full credit!
--- In
rara-avis-l@yahoogroups.com, "George Tuttle"
<noirfiction@...> wrote:
>
> She does a great job in trying to make the word
"genealogy" work. It
> could never be as easy as "Abraham begat Isaac; and
Isaac begat
> Jacob." As a sidenote, it seems to me that there
should be some
> mention of Edgar Wallace, somewhere, as a
pre-hardboiled influence,
> since he plays such a part in the concept of the
thriller prior to the
> hardboiled era. Also, I would prefer to say, "Rise
of the Paperback
> Original." Paperbacks from 1939-1949 were just a
repackaging of other
> existing media (mostly hardcover, with some pulp and
a little slick
> fiction tossed in). Of course, there is Spillane
whose paperback
> reprints did do much to change the status quo, but
that would put the
> year as 1948, not 1939. Also, are Goodis and
Williford's heroes really
> psychotic? I am very curious about her definition of
hardboiled and
> noir (but aren't we all, always, endlessly). That
said, her genealogy
> is better than anything I could create. I liked it
and applaud her for
> attempting it.
>
> As for the syllabus, is anyone else uncomfortable
with the use of
> films in a literature course or at lease in the
choice of these
> particular films in a discussion of the shaping of
the hardboiled genre?
>
> George the Librarian
>
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