MACMILLAN Patricia Highsmith on Screen (Palgrave Studies in Adaptation and Visual Culture)

Product Description 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. Review “This outstanding essay collection ranges over Highsmith’s entire oeuvre, examining adaptations by directors as different as Alfred Hitchcock, Woody Allen, and Wim Wenders. In addition to illuminating essays by distinguished film scholars, it presents insightful interviews with several filmmakers about their philosophies and methods. Highsmith fans and scholars of film adaptation will learn a great deal and find much to appreciate and discuss in this excellent volume.” (Mark Osteen, Loyola University Maryland, USA) From the Back Cover 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. About the Author Wieland Schwanebeck is Assistant Lecturer at the Institute of English and American Studies at Dresden University of Technology, Germany. He has recently edited Reassessing the Hitchcock Touch (2017). Douglas McFarland is Retired Professor of English and Classical Studies at Flagler College, USA. He is the co-editor of John Huston as Adaptor (2017).