A Little Solitaire : : John Frankenheimer and American Film / / ed. by Murray Pomerance, R. Barton Palmer.

• Superior document: Title is part of eBook package: De Gruyter Rutgers University Press Backlist eBook-Package 2000-2013
• MitwirkendeR: Bell-Metereau, Rebecca,; Berg, Charles Ramírez,; Bernstein, Matthew H.,; Bingham, Dennis,; Conley, Tom,; Cornea, Christine,; Creekmur, Corey K.,; Duckett, Victoria,; Krohn, Bill,; McFarland, Douglas,; Morrison, James,; Mosher, Jerry,; Murray, Robin L.,; Palmer, R. Barton,; Pomerance, Murray,; Prince, Stephen,; Sterritt, David,; Williams, Linda Ruth,
• TeilnehmendeR: Bell-Metereau, Rebecca.; Berg, Charles Ramirez.; Bernstein, Matthew.; Bingham, Dennis.; Conley, Tom.; Cornea, Christine.; Creekmur, Corey.; Duckett, Victoria.; Krohn, Bill.; McFarland, Doug.; Morrison, James.; Mosher, Jerry.; Murray, Robin L.; Palmer, R. Barton.; Prince, Stephen.; Sterritt, David.; Williams, Linda Ruth.
• HerausgeberIn: Palmer, R. Barton,; Pomerance, Murray,
• Place / Publishing House: New Brunswick, NJ : : Rutgers University Press, , [2011]; ©2011
• Year of Publication: 2011
• Language: English
• Physical Description: 1 online resource (324 p.) :; 53

Think about some commercially successful film masterpieces--The Manchurian Candidate. Seven Days in May. Seconds. Then consider some lesser known, yet equally compelling cinematic achievements--The Fixer. The Gypsy Moths. Path to War. These triumphs are the work of the best known and most highly regarded Hollywood director to emerge from live TV drama in the 1950s--five-time Emmy-award-winner John Frankenheimer. Although Frankenheimer was a pioneer in the genre of political thrillers who embraced the antimodernist critique of contemporary society, some of his later films did not receive the attention they deserved. Many claimed that at a midpoint in his career he had lost his touch. World-renowned film scholars put this myth to rest in A Little Solitaire, which offers the only multidisciplinary critical account of Frankenheimer's oeuvre. Especially emphasized is his deep and passionate engagement with national politics and the irrepressible need of human beings to assert their rights and individuality in the face of organizations that would reduce them to silence and anonymity.

Table of Contents

Frontmatter -- Contents -- Acknowledgments -- Introduction: Why Don't You Pass the Time by Playing a Little Solitaire? -- Thrills -- Murdered Souls, Conspiratorial Cabals: Frankenheimer's Paranoia Films -- The Manchurian Candidate: Compromised Agency and Uncertain Causality -- Stealth, Sexuality, and Cult Status in The Manchurian Candidate and Seconds -- The Train: John Frankenheimer's "Rape of Europa" -- Action and Abstraction in Ronin -- Politics -- Late Frankenheimer/ Political Frankenheimer -- John Frankenheimer's "War on Terror" -- The Burning Season: Environmentalism versus Progress? -- Pictures and Prizes: Le Grand Prix de Rome and Grand Prix -- Families -- Crashing In: Birdman of Alcatraz -- Walking the Line with the Fille Fatale -- Live TV, Filmed Theater, and the New Hollywood: John Frankenheimer's The Iceman Cometh -- Ashes, Ashes: Structuring Emptiness in All Fall Down -- Secrets -- An American in Paris: John Frankenheimer's Impossible Object -- Shot from the Sky: The Gypsy Moths and the End of Something -- Frankenheimer and the Science Fiction/Horror Film -- The Fixer: A Jew Who Could Be Any Man, Any Time, Anywhere -- Jonah -- John Frankenheimer's Directorial Career: A Chronology -- Works Cited and Consulted -- Contributors -- Index