Larkin, T. Lawrence

From Stefan Zweig Bibliography

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Current revision (13:19, 10 October 2019) (view source)
 
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'''Contents:'''
'''Contents:'''
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'''[1]'''. Preface [T. Lawrence Larkin], pp. vii-(x)
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'''[1]'''. Preface [T. Lawrence Larkin], pp. vii-x
'''[2]'''. Contents, pp. xi-xiii
'''[2]'''. Contents, pp. xi-xiii
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:'''[7/6]'''. Inter-Dependence of Screenplay, Cast, Costumes, and Sets, pp. 220-230
:'''[7/6]'''. Inter-Dependence of Screenplay, Cast, Costumes, and Sets, pp. 220-230
:'''[7/7]'''. Before and Behind the Cameras: Shearer's Acting Technique and Production Oversight, pp. 231-235
:'''[7/7]'''. Before and Behind the Cameras: Shearer's Acting Technique and Production Oversight, pp. 231-235
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:'''[7/8]'''. The Two Faces of Marie-Antoinette, or How to Sell Sin and Atonement, pp, 235-241
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:'''[7/8]'''. The Two Faces of Marie-Antoinette, or How to Sell Sin and Atonement, pp. 235-241
:'''[7/9]'''. To Make Marie-Antoinette Live Again: The Art of Rendering Clear and Mixed Passions, pp. 241-248
:'''[7/9]'''. To Make Marie-Antoinette Live Again: The Art of Rendering Clear and Mixed Passions, pp. 241-248
:'''[7/10]'''. Acting a Historical Part as an "Interested" Undertaking, pp. 248-252
:'''[7/10]'''. Acting a Historical Part as an "Interested" Undertaking, pp. 248-252

Current revision

[2019]: Palgrave Macmillan, Cham, Switzerland

In Search of Marie-Antoinette in the 1930s: Stefan Zweig, Irving Thalberg, and Norma Shearer. 296p. Richly illustrated with many photographs

Contents:

[1]. Preface [T. Lawrence Larkin], pp. vii-x

[2]. Contents, pp. xi-xiii

[3]. List of Figures, pp. xv-xx

[4]. Chapter 1. In Search of Marie-Antoinette: The Inscrutable Life Worth Scrutinizing, pp. 1-23

[4/1]. (Preface), pp. 1-4
[4/2]. Scholarship to Date: The Myth of "Marie-Antoinette", pp. 4-10
[4/3]. Scholarship to Date: "Objectivity" in the Writing of History, "Authenticity" in the Production of Film, pp. 10-15
[4/4]. Scholarship to Date: Zweig, Thalberg and Shearer in Documents and Biographies, pp. 16-18
[4/5]. Structure and Method of the Argument, pp. 18-22
[4/6]. References, pp. 22-23

[5]. Chapter 2. Stefan Zweig's Clinical Biography, 1930-1932, pp. 25-104

[5/1]. (Preface), pp. 25-27
[5/2]. Western European Approaches to Illustrated Biographty in the 1920s, pp. 27-32
[5/3]. Zweig's Approach to Psychological Biography, pp. 32-41
[5/4]. Zweig's Approach to the French Revolution, pp. 41-46
[5/5]. Merging Dominant Interpretations of Marie-Antoinette, pp. 46-57
[5/6]. Structure of the Argument, pp. 57-59
[5/7]. Marie-Antoinette's Psychological Transformation: Cause, Manifestations, and Cure, pp. 59-68
[5/8]. Marie-Antoinette's Spiritual Transformation: Awakening, Resistance and Acceptance, pp. 68-80
[5/9]. Writing Historical Biography as an "Interested" Undertaking, pp. 80-86
[5/10]. Zweig on Film Adaptations of Historical Biographies, pp. 86-90
[5/11]. Notes, pp. 90-100
[5/12]. References, pp. 100-104

[6]. Chapter 3. Irving Thalberg's Film Production, 1934-1936, pp. 105-185

[6/1]. (Preface), pp. 105-108
[6/2]. European and American Approaches to Historical Films in the 1920s, pp. 108-114
[6/3]. Thalberg's Approach to Biographical Film, pp. 114-126
[6/4]. Thalberg's Introduction to the Zweig Property, pp. 126-130
[6/5]. Sorting Rival Interpretations of Marie-Antoinette, pp. 130-136
[6/6]. In Conference: Establishing Character Motivations, Scenarios, and Continuity, pp. 136-142
[6/7]. The Two Earliest "Temporary Complete Screenplays", pp. 142-145
[6/8]. Indicating Louis' Phimosis, or How Ineffectual Lovemaking Leads to Lackluster Leadership, pp. 145-151
[6/9]. Indicating the Revolutionaries, or How to Generate Sympathy for Monarchs in Spite of Their Ineffectualness, pp. 151-162
[6/10]. Producing Biographical Film as an "Interested" Undertaking, pp. 162-169
[6/11]. Thalberg on Playing a Historical Character, pp. 169-171
[6/12]. Notes, pp. 171-180
[6/13]. References, pp. 180-185

[7]. Chapter 4. Norma Shearer's Dramatic Performance, 1937-1938, pp. 187-276

[7/1]. (Preface), pp. 187-189
[7/2]. Euro-American Approaches to Historical Roles in the 1930s, pp. 189-196
[7/3]. Shearer's Approach to Historical Characterizations, pp. 196-208
[7/4]. Shearer's Recommitment to the Marie-Antoinette Role, pp. 208-212
[7/5]. The "Final Okayed Screenplay", pp. 212-220
[7/6]. Inter-Dependence of Screenplay, Cast, Costumes, and Sets, pp. 220-230
[7/7]. Before and Behind the Cameras: Shearer's Acting Technique and Production Oversight, pp. 231-235
[7/8]. The Two Faces of Marie-Antoinette, or How to Sell Sin and Atonement, pp. 235-241
[7/9]. To Make Marie-Antoinette Live Again: The Art of Rendering Clear and Mixed Passions, pp. 241-248
[7/10]. Acting a Historical Part as an "Interested" Undertaking, pp. 248-252
[7/11]. Shearer on Public Response to Her Performance, pp. 252-257
[7/12]. Notes, pp. 257-268
[7/13]. References, pp. 268-276

[8]. Conclusion, pp. 277-288

[8/1]. (Preface), pp. 277-278
[8/2]. Summary, pp. 278-279
[8/3]. "Marie-Antoinette" in Myth, pp. 280-281
[8/4]. "Objectivity" in Biography, "Authenticity" in Film, pp. 282-283
[8/5]. Time Travel Today, pp. 284-288
[8/6]. Notes and References, p. 288

[9]. Index, pp. 289-296

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