Leslie Garis, "Translating Fowler Into Film,"54.
Marilyn Hoder-Salmon, "The Intimate Agony of Mary McDougal Axelson's
Life Begins,"55-69. Axelson came to Hollywood expecting to write the screenplay
and was bitterly disappointed when director James Flood assigned the script to Earl Baldwin. She settled in Hollywood to establish herself as a scenarist, but
eventually returned East.
Leslie Fiedler, Love and Death in the American Novel, 26; Mofly Haskell, From
Reverence to Rape: The Treatment of Women in the Movies, 61.
Kate Ellis, "Life with Marmee: Three Versions,"66.
Geoffrey Wagner, The Novel and the Cinema, 256.
Stanley Kauffmann, "Effi Briest,"20.
Joan Mellen, Women and Their Sexuality in the New Film, 21; Laura Mulvey, "Visual Pleasure and Narrative Cinema,"18; Claire Johnston, ed., "Critical Strategies,"4. For an overview on feminist film criticism there are several excellent
recent collections; I particularly recommend Patricia Eren's Issues in Feminist Film
Criticism. A superb bibliography appears in Camera Obscura 20-21 ( 1990): 336-77.
Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema, 4; Judith Mayne, The Woman at the Keyhole: Feminism and Women's Cinema, 91.
Ruby Rich, "In the Name of Feminist Film Criticism,"238; Wood, "Images
These works include Hugo Münsterberg's The Film; A Psychological Study;
John Howard Lawson's Theory and Technique of Playwriting and Screenwriting; George Bluestone's Novel into Film; André Bazin's What Is Cinema?; Christian Metz's Film Language: A Semiotics of the Cinema; and Robert Richardson's Literature and Film.