In a range of approaches, the contributors to this volume 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.
Considering that he worked a stint as a screenwriter, it will come as littlesurprise that Faulkner has often been called the most cinematic of novelists.Faulkner''s novels were produced in the same high period as the films ofclassical Hollywood, a reason itself for considering his work alongside thisdominant form. Beyond their era, though, Faulkner''s novels-or the ways inwhich they ask readers to see as well as feel his world-have much in commonwith 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 contextsin which he can be considered.In a range of approaches, the contributors consider Faulkner''s career as ascenarist and collaborator in Hollywood, the ways his screenplay work andthe adaptations of his fiction informed his literary writing, and how Faulkner''scraft anticipates, intersects with, or reflects upon changes in cultural historyacross the lifespan of cinema.Drawing on film history, critical theory, archival studies of Faulkner''s screenplaysand scholarship about his work in Hollywood, the nine essays show akeen awareness of literary modernism and its relation to film.Peter Lurie is associate professor of English and film studies at the Universityof Richmond. He is the author of Vision''s Immanence: Faulkner, Film, and thePopular Imagination and has published numerous articles on Faulkner andfilm.Ann J. Abadie is associate director emerita of the Center for the Study ofSouthern Culture at the University of Mississippi and the coeditor of numerousvolumes in the Faulkner and Yoknapatawpha Series.
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