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Table of Contents
Intro; Acknowledgements; Contents; Notes on Contributors; List of Figures; Chapter 1 Introduction: Patricia Highsmith on Screen; It's Murder at the Movies!; The Unknown Ms. Highsmith; Haunted by Hitchcock; Structure of This Volume; Works Cited; Chapter 2 The Dark Side of Adaptation; Perils of the Copycat; Adapting the Adapters; Criminal Adaptations; Gambling on Adaptation; Works Cited; Part I Doubles, Copies, and Strangers; Chapter 3 "I Meet a Lot of Guys-But Not Many Like You": Strangers and Types in Highsmith's and Hitchcock's Strangers on a Train
"Fluid and Ambivalent": Highsmith's Popular Modernism"Two People in Each Person": Highsmithian Gothic; "A Certain Type": Hitchcock's Strangers on a Train; "Society's Business": Strangers on a Train and the Law; Works Cited; Chapter 4 Strangers on a Park Bench: From Patricia Highsmith to Alfred Hitchcock to Woody Allen; The Devil's in the Details; No Strangers: Intersections Between Highsmith and Allen; From Barrett and Highsmith to Allen: Philosophers and Ne'er-Do-Wells Turned Irrational Men; Concluding Remarks; Works Cited; Chapter 5 Tom Ripley's Talent; Cold; A Talent for Ugliness
ContingenciesThe First Laugh; The Last Laugh; Outside; Works Cited; Chapter 6 Ripley Under Ground and Its Illegitimate Heirs; Forging Ahead; The Specter of Illegitimacy; When Highsmith Met Ripley: A Gift for Murder; Works Cited; Part II Queer Encounters; Chapter 7 Queer Ripley: Minghella, Highsmith, and the Antisocial; The 'Antisocial' Turn in Queer Theory; Minghella, Ripley, and the Queer 90s; A Homosexual World; Works Cited; Chapter 8 The Price of Salt, Carol, and Queer Narrative Desire(s); Origins; Marketing and Reception; Dilatory Space and Narrative Desire; Conclusion; Works Cited
Chapter 9 "Easy Living": From The Price of Salt (78) to Carol (EP)The Price of Salt (78), Side A: "Easy Living"; The Price of Salt (78), Side B: Fairy Tale; Carol: EP; Cut 1: Hands; Cut 2: Out of the Blue; Cut 3: On the Road; Cut 4: Playtime; (Re-)Recording: Après Coup; Works Cited; Part III Aesthetic, Mythic, and Cultural Transactions; Chapter 10 Adapting Irony: Claude Chabrol's The Cry of the Owl; Modernist Ironies; Highsmith's Landscape of Irony; Chabrol and the Style of Irony; Serious Play; Works Cited; Chapter 11 With Friends Like These: Wim Wenders' The American Friend as Noir Allegory
Americanization, Late Fordism, and New German CinemaRefiguring Refigured Noir; Allegorizing Late Fordism; The Canted Noir Frame; The Financial Frame; Americanization as Noir Allegory; Works Cited; Chapter 12 Hans Geissendörfer's Psychological Noir: West-German Adaptations of Patricia Highsmith Novels; Phillip Braun: Stuck in the Glass Cell of German Expressionism; Synthesizing and Psychologizing a German Edith; Conclusion; Works Cited; Chapter 13 Authorship and Scales of Adaptation in Chillers; A Brief History of Chillers; Genre Markers in Adaptation; Scales of Adaptation; Works Cited; Chapter 14 The Two Faces of January: Theseus and the Minotaur.
"Fluid and Ambivalent": Highsmith's Popular Modernism"Two People in Each Person": Highsmithian Gothic; "A Certain Type": Hitchcock's Strangers on a Train; "Society's Business": Strangers on a Train and the Law; Works Cited; Chapter 4 Strangers on a Park Bench: From Patricia Highsmith to Alfred Hitchcock to Woody Allen; The Devil's in the Details; No Strangers: Intersections Between Highsmith and Allen; From Barrett and Highsmith to Allen: Philosophers and Ne'er-Do-Wells Turned Irrational Men; Concluding Remarks; Works Cited; Chapter 5 Tom Ripley's Talent; Cold; A Talent for Ugliness
ContingenciesThe First Laugh; The Last Laugh; Outside; Works Cited; Chapter 6 Ripley Under Ground and Its Illegitimate Heirs; Forging Ahead; The Specter of Illegitimacy; When Highsmith Met Ripley: A Gift for Murder; Works Cited; Part II Queer Encounters; Chapter 7 Queer Ripley: Minghella, Highsmith, and the Antisocial; The 'Antisocial' Turn in Queer Theory; Minghella, Ripley, and the Queer 90s; A Homosexual World; Works Cited; Chapter 8 The Price of Salt, Carol, and Queer Narrative Desire(s); Origins; Marketing and Reception; Dilatory Space and Narrative Desire; Conclusion; Works Cited
Chapter 9 "Easy Living": From The Price of Salt (78) to Carol (EP)The Price of Salt (78), Side A: "Easy Living"; The Price of Salt (78), Side B: Fairy Tale; Carol: EP; Cut 1: Hands; Cut 2: Out of the Blue; Cut 3: On the Road; Cut 4: Playtime; (Re-)Recording: Après Coup; Works Cited; Part III Aesthetic, Mythic, and Cultural Transactions; Chapter 10 Adapting Irony: Claude Chabrol's The Cry of the Owl; Modernist Ironies; Highsmith's Landscape of Irony; Chabrol and the Style of Irony; Serious Play; Works Cited; Chapter 11 With Friends Like These: Wim Wenders' The American Friend as Noir Allegory
Americanization, Late Fordism, and New German CinemaRefiguring Refigured Noir; Allegorizing Late Fordism; The Canted Noir Frame; The Financial Frame; Americanization as Noir Allegory; Works Cited; Chapter 12 Hans Geissendörfer's Psychological Noir: West-German Adaptations of Patricia Highsmith Novels; Phillip Braun: Stuck in the Glass Cell of German Expressionism; Synthesizing and Psychologizing a German Edith; Conclusion; Works Cited; Chapter 13 Authorship and Scales of Adaptation in Chillers; A Brief History of Chillers; Genre Markers in Adaptation; Scales of Adaptation; Works Cited; Chapter 14 The Two Faces of January: Theseus and the Minotaur.