Contents

pp v-vi

Acknowledgments

pp vii-viii

Introduction

pp 1-8

Part I - (1917–1928) From the Stage to the Screen: “Goin’ to the Movies…” in the Great War and the 1920s

pp 9-10

1 - Experimental Drama and Soviet Constructivist Theater

pp 11-24

2 - The Birth of an Industry: Setting the Stage for the Screen

pp 25-36

3 - “Propaganda for peace”: Film and Narrative in One Man's Initiation: 1917 (1920), Three Soldiers (1921), and D.W. Griffith's Hearts of the World (1918)

pp 37-62

4 - Soviet Film: Montage, the Camera Eye, and Ideology

pp 63-74

Part II - (1934–1937) From Paramount Studios to the Spanish Front: Writing Hollywood, Filming History

pp 75-76

5 - “The world's greatest center of … propaganda”: Hollywood, The Devil Is a Woman, and The Big Money

pp 77-100

6 - Film Writing: “Dreamfactory,” Metafilm, and the Politics of Form

pp 101-126

7 - Filming History and The Spanish Earth: “what a man and a comrade has to do in … wartimes”

pp 127-156

Part III - (1937–1970) From Page to Stage to Screens: Adapting U.S.A. and “the truth as I see it”

pp 157-158

8 - Filmic Narrative into Narrative Film: “politics and the silver screen”

pp 159-182

Conclusion

pp 183-194

Appendix

pp 195-216

Notes

pp 217-242

Index

pp 243-252