دانلود کتاب ReFocus: The Films of William Wyler

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Contents\nList of Figures\nAcknowledgments\nNotes on Contributors\nIntroduction: William Wyler—Chariot Races and Flower Shows\nPart I Style\n1 Wyler’s Early Films: Evolution of the “Styleless Style”\n2 More than Meets the Eye: Perspectives on William Wyler and the Auteur Theory\n3 Traumatic History and the Prosthesis of Myth in Wyler’s\n4 Persistent Presence: Space and Time in the Films of William Wyler\nPart II Collaboration, Genre, and Adaptation\n5 Clash of the Titans: The Hidden Collaboration of William Wyler and David O. Selznick on Carrie (1952)\n6 Narratives of Failure: Dead End (1937), The Desperate Hours (1955), and Gangsters in Distress\n7 Wyler’s Wuthering Heights (1939): Genre, Transnationalism, and the Adaptation of the Victorian Novel\nPart III Gender and Sexuality\n8 William Wyler’s The Heiress (1949) and the Unknown Woman 9 These Three: Wyler and his Two Adaptations of The Children’s Hour\n9 These Three: Wyler and his Two Adaptations of The Children’s Hour\nPart IV War and Peace\n10 A War of the People: Destruction, Community, and Hope in William Wyler’s Wartime Films\n11 Turning the Other Cheek: Wyler’s Pacifism Trilogy—Friendly Persuasion (1956), The Big Country (1958), and Ben-Hur (1959)\nPart V Global Wyler\n12 William Wyler’s Voyage to Italy: Roman Holiday (1953), Progressive Hollywood, and the Cold War\n13 “Down Eros, Up Mars!”: Post-Colonialism, Imperial Violence, and the Corrupting Influence of Hate in William Wyler’s Ben-Hur (1959)\n14 “Life Isn’t Always What One Likes”: The Unbearable Lightness of Royalty, and Other Stereotypes in Roman Holiday (1953)\nFilmography\nAcademy Awards for Acting under Wyler\nIndex