| Filming 'Our Town' (1940) or the problem of "looking at everything hard enough"
|
2013 |
Eldridge, David |
| Come back, little scopophile: William Inge, Daniel Mann, and cinematic voyeurism
|
2013 |
Bak, John S. |
| Hollywood's Who's Afraid of Virginia Woolf?: breaking the code
|
2013 |
Lavery, David |
| Realism, censorship, and the social promise of 'Dead End'
|
2013 |
Klein, Amanda Ann |
| Screening 'Death of a Salesman': Arthur Miller's cinema and its discontents
|
2013 |
Palmer, R. Barton |
| Elia Kazan's 'A Streetcar Named Desire'
|
2013 |
Bray, William Robert |
| Sex, lies, and independent film: realism and reality in Sam Shepard's 'Fool for Love'
|
2013 |
Saddik, Annette J. |
| Actor, image, action: Anthony Drazan's 'Hurlyburly' (1998)
|
2013 |
Raw, Laurence |
| David Mamet brings film to 'Oleanna'
|
2013 |
Murphy, Brenda |
| 'The Big Knife': Hollywood's "fable about moral values and success", a movie about the movies
|
2013 |
Ames, Christopher |
| Sidney Lumet's family epic: re-imagining 'Long Day's Journey into Night'
|
2013 |
Brewer, Mary F. |
| To what end a cinematic 'Wit'?
|
2013 |
Sykes, Jr., John D. |
| Adapting Lorraine Hansberry's sociological imagination: race, housing, and health in 'A Raisin in the Sun'
|
2013 |
Halliwell, Martin |
| Double vision: the film adaptations of 'The Children's Hour'
|
2013 |
Sinyard, Neil |
| Theatrical, cinematic, and domestic epic in Tony Kushner's 'Angels in America'
|
2013 |
Pugh, Tison |
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