novels about cinema

We really don’t think so, but who knows?). Scott Moncrieff’s original translation has been reissued, but badly needs updating to give this early vision of film as a metaphor for modern life wider currency. A Nevada woman, nicknamed ‘Reno’, moves to New York in the 1970s, where she finds work as a ‘China Girl’ – a white girl barely glimpsed in a film’s leader (a length of film at the start of a reel) to help calibrate skin tones. “That’s funny, Maria. He and his first adult lover Slimane slow-dance to Isabelle Adjani’s Pull marine (Navy Blue Sweater) in Paris, then Abdellah – who is an aspiring filmmaker – goes to see Vittorio de Sica’s Bicycle Thieves alone. One day, a group of tourists appear suddenly and the hero hides while trying to understand the mystery of their presence. North does much more here, however, than simply place a woman in a conventionally male role. Much to the veteran screenwriter’s chagrin, this hardboiled tale of a Jewish Gatsby’s Hollywood ascent was adopted as a yuppie success manual, its shitheel protagonist, Sammy Glick, their amoral role-model. Hooked? Max, whose star is fading, is planning an indie film, a kind of My Dinner with Andre but set in bed with Elena, “a movie about an unmarried couple talking about the Iraq war and making love”. But in the novel’s case, that’s no bad thing at all. The Invention of Morel is a vibrant theoretical fiction about immortality, eternal return and the universe of images – and is imbued throughout by the cinema. The free-spirited Nancy Jones is the ‘kinema girl’ of the title. Published just a year before the author’s death at 51, Wise Children is a celebration of life: a bold, bawdy love-letter to Shakespeare, sex, sisterhood – and showbiz. An epic spanning six decades of Hollywood history – from the silent 20s to the Reagan 80s Running Time tells the story of a hapless child star, Baby Jewel, and her pushy but weirdly likeable ‘screen mother’ Elva Kay. The story ends in court, with the film being shown again as evidence for divorce. What formally unites his 17 novels, five plays and many short stories is a cinematic way of telling. Written in the mad prose – testamentary and visionary – of a man haunted by death, The Invention of Morel is best read in one breathless burst. No matter, his benign advice and the evening light that bathes the scene transcend authenticity. Online shopping for Books from a great selection of Biographies, Production & Technology, History & Criticism, Reference, Guides & Reviews, World Cinema & more at everyday low prices. Cheeta’s faux-naïf recollections of the predilections and peccadillos of the likes of Charlie Chaplin, Errol Flynn and Joan Crawford, and his enduring rivalry with Maureen O’Sullivan, Jane to Weismuller’s Tarzan, are often laugh-out-loud hilarious. Tod Hackett, a Yale-educated Hollywood set painter, befriends and observes Faye (whom he lusts after to the point of masochism and angry, disturbed rape fantasies) and poor Homer, as well as getting to know vaudevillians, dwarfs, cowboys and cockfighters – the edges of Hollywood. Murnau’s Sunrise (1927), whose later career was in B westerns, and mother Marguerite Churchill, a stage-trained beauty who acted in 25 films, including The Big Trail (1930) with John Wayne. “One of the most important novels of the twentieth century, The House of the Spirits is an enthralling epic that spans decades and lives, weaving the personal and the political into a universal story of love, magic, and fate.” 45. This inventive novelised treatment of one of Asian cinema’s most fascinating characters, Yamaguchi Yoshiko, begins with her birth in China to Japanese parents in 1920 and follows her launch to stardom at the age of 16 by the Man’ei film company, established by the Japanese in the puppet state of Manchukuo during the 1930s. She had been a secretary to David O. Selznick at MGM, and she ruthlessly – and recognisably – caricatured him as the crass, childish and tyrannical producer Sidney Brand. His novels, which include Betrayed by Rita Hayworth (1968) and Kiss of the Spider Woman (1976), are high-camp fantasias on old movie themes. In that bitter plot the wordy life is worried by movies – not just Margot’s lying close-ups but the threat of stories all aglow in glamour and glances, a shining to eclipse reading. Hollywood in its Golden Age, from the 20s to the 50s, is as much a gift to the send-up novel (Evelyn Waugh’s The Loved One, P.G. (Gordon is allegedly planning an adaptation of the novel.) Luck of the draw brought me two entries that involve toothache (see Money on page 30). A relentlessly solipsistic but oddly relatable tale of female insecurity in a boys’-club business, it’s the bleaker, truth-telling sister to the glossy, toothless mom-and-me film adaptation, directed by Mike Nichols in 1990. – is deepened by the level of atmospheric detail provided and the audacity with which Boyd jumps between industries and eras. Hollywood the company town is powered by fame, but novelists love to contemplate the other Hollywood, that of fortunes reversed and eventual failure. is a clear-sighted, wistful look back on the British silent film industry by someone who had really been there. In The Public Image, shortlisted for the Booker Prize in 1969, Muriel Spark sifts coolly through the implications. Pauline Kael described it as “the best Hollywood novel in a long time” and her judgement still stands. There can’t be many novelists whose work references cinema as heavily as the Spanish writer Terenci Moix, and never more so than in El cine de los sábados (‘Saturday’s Cinema’), the first in a trilogy in which autobiography and fantasy become inextricably entangled. If any great director merited a novel it’s Murnau, and Jim Shepard draws him on the page with a suitably haunted elegance and a shading of speculation. The feminism in this book is the kind that isn’t named. She begins to feel as though she is managing a huge building site, trying to excavate the texture of her subject, as if she is unearthing the reverse imprint of a fossil. Published: 1902 . He first picks up a camera in World War I, and enters the British industry in the early 1920s, before being tempted over to the more exciting scene in Weimar Berlin. Today, I’m joined by Jody Bottum and Armond White to talk about novels and cinema–movie adaptations, when they work, how they can improve on literature, and when they fail. The fourth book in the series, Fear in the Sunlight, follows Tey to the Welsh village of Portmeirion in the summer of 1936, to negotiate a fee for the rights to her novel A Shilling for Candles with no less than the great Alfred Hitchcock (who really did adapt the novel that year, as Young and Innocent) and his wife Alma, who are throwing a party. As you’d expect from the co-author of the notorious pornographic novel Candy (1958), no holds are barred: buggery, incest, necrophilia and a host of other sexual permutations crowd the pages, all described in gleefully obscene detail. The sprawling plot orbits around the recovery of a missing master copy of Incandenza’s most consequential work, a video cartridge dubbed ‘The Entertainment’, one so engrossing that it proves fatal to its viewers. The novel opens in Hollywood in 1969, as the Manson murders happen, and takes us through to the early 80s; protagonist Vikar is a cinema-obsessed refugee from a toxic Calvinist background with a tattoo on his head depictingElizabeth Taylor and Montgomery Clift in a scene from George Stevens’s A Place in the Sun (1951), “the two most beautiful people in the history of movies”. Netherwood, the final novella in the trilogy – about the occultist Aleister Crowley and novelist Dennis Wheatley, with guest appearances from Hitchcock, Hammer and Christopher Lee – will appear later this year. Few things are sadder than the truly monstrous.”. The showbiz ‘banter’ in Joan Didion’s novel is like tumbleweed rolling over a parched desert. But it is clear, looking at the contemporary novel, with its multiple viewpoints, rapid cutting and fractured time schemes, that just as films cannot do without novelists, novelists cannot evade the influence of films. Cinema and surveillance are the crystalline meeting point of the personal and political in Ali Smith’s shimmering summer state-of-the-nation novel. )ambitious second novel, which interweaves three stories of World War I and Hollywood, is entering the mind of a genius, Charlie Chaplin, immersed in his creative process. Do you choose a film for the plot/story or the actors? But in a town where getting the right seat at a restaurant table means more than murder, Griffin’s attempts to find his correspondent take us into a tale that’s as much a morality play as it is a wickedly revealing despatch from the inside of an industry that’s flush with money and vacuity. Iris falls madly in love with Rose; soon the pair are skinny-dipping off Malibu beach, and before you know it gossip columnist Hedda Hopper is moving in to extinguish Iris’s fledging star. 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