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Selznick's vision : Gone with the wind and Hollywood filmmaking

作者: Alan David Vertrees
出版商: Austin : University of Texas Press, ©1997.
叢書: Texas film studies series.
版本/格式:   Print book : 州政府或者省政府刊物 : 英語 : 1st ed所有版本和格式的總覽
資料庫:WorldCat
提要:
Gone with the Wind, arguably the most popular movie ever made, has generated interest in every aspect of its production, from the national talent search to cast the perfect Scarlett O'Hara to the "burning of Atlanta" on the studio backlot, which inaugurated the filming. Yet one crucial aspect of its production has never been fully understood or appreciated - the vital shaping role played by executive producer David
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其他的實體格式: Online version:
Vertrees, Alan David, 1952-
Selznick's vision.
Austin : University of Texas Press, ©1997
(OCoLC)605141179
提及的人: Scarlett O'Hara, (Fictitious character); David O Selznick; David O Selznick; David O Selznick; Scarlett O'Hara, (Fictitious character); David O Selznick; Selznick, David O. <1902-1965>; David O Selznick
資料類型: 政府刊物, 州政府或者省政府刊物, 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Alan David Vertrees
ISBN: 0292787294 9780292787292 0292787286 9780292787285
OCLC系統控制編碼: 36159393
描述: xiii, 242 pages : illustrations ; 26 cm.
内容: "The vision of one man" --
Sidney Howard and the screenwriting of Gone with the wind --
William Cameron Menzies and the "script in sketch form" --
Film direction and production design of Gone with the wind --
Executive producers and classical Hollywood film production.
叢書名: Texas film studies series.
責任: Alan David Vertrees.
更多資訊:

摘要:

Gone with the Wind, arguably the most popular movie ever made, has generated interest in every aspect of its production, from the national talent search to cast the perfect Scarlett O'Hara to the "burning of Atlanta" on the studio backlot, which inaugurated the filming. Yet one crucial aspect of its production has never been fully understood or appreciated - the vital shaping role played by executive producer David O. Selznick. In this book, film scholar Alan David Vertrees challenges the popular image of Selznick as a megalomaniacal meddler whose hiring and firing of directors and screenwriters created a patchwork film that somehow succeeded despite his interference.

Drawing on ten years of research in the Selznick archives at the Harry Ransom Humanities Research Center of the University of Texas at Austin and building his argument from an examination of the screenplay's successive drafts, dramatic continuity designs and "storyboard" sketches (many of which are reproduced here), and production correspondence and memoranda, Vertrees interprets the producer's actions as manipulation, not indecision, establishing Selznicks's "vision" as the guiding intelligence behind the film's success.

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