Banjara’s novel hews closely to that in a series of flashbacks, and also hilariously sends up the kind of escapist Bollywood films made in the era, complete with scripts and treatments. Poor Caroline, her fourth novel, follows earnest spinster Caroline Denton-Smyth as she founds the Christian Cinema Company to “clean up” British cinema. Maybe he’ll tell you things he’d feel uncomfortable telling me,” says producer Carl ‘Cubby’ Steinbeck to Sam Dodd, the Gunn stand-in.) Actor Maria Wyeth, estranged from her director husband (who got her started in the movies), floats through a series of increasingly traumatic events, and we know from the first pages it is all leading to murder and incarceration in a psychiatric institution. Her purple prose often falls into an outright imitation of the oracular style of film critic Parker Tyler, and Vidal sends up Tyler while also acknowledging his own attraction to Maria Montez pictures and the physical appearance of actors like James Craig and Tim Holt. In her novel Suite for Barbara Loden, Nathalie Léger shifts seamlessly between evocative textual analysis, personal memoir, detective work and fiction in a portrait of Barbara Loden, director, writer and star of Wanda (1970). He then has the tax fraud underlying his pitch exposed in painstaking detail by one of the dealers’ financial advisers. Topic Vocabulary >> Lesson 9: Books and Films. Under his director’s tuition, Isherwood’s fictional avatar comes to learn the craft of screenwriting, while Europe teeters on the brink of war and the director’s family is endangered. Drawing on Gunn’s own experiences with 1970s studio filmmaking (particularly those around 1977’s The Greatest, starring Muhammad Ali as himself), his novel captures the unique, degrading agony of taking on a creatively unfulfilling job in the hope of advancing your career and getting paid – and then being told you’re not good enough to see it through. So Albinus funds Margot in the movies, suckered by tricky Axel Rex. But his novels – in particular his DC Quartet, of which The Big Blowdown is the first book – resemble films just waiting to happen. He “broke her spirit and built her up again within the hour”; she “respected” him. The protagonist – named in the second version’s subtitle, The Notebooks of Serafino Gubbio, Cinematograph Operator (1925) – has become an impassive observer of the studio life taking place around him. The narrator, Binx Bolling, notices a young man who spots Holden on the streets of New Orleans and becomes depressed. Here Puig spins a haunting narrative web, alternating fictionalised episodes from the star’s life with the stories of two imaginary women: an Argentinian political dissident, exiled in Mexico and dying of cancer, and a political prisoner in some future Ice Age dystopia. Hooked? “If a movie gallops, only children are amused.”. For the identical Chance twins, Dora and Nora, the 20th century is their stage. Camille Lemercier’s autobiographical novel Les Fanas du ciné (‘Film fans’), affords a rare glimpse of cinema-going in late 1930s France, focusing on a relatively – impoverished bourgeois family from the 16th arrondissement in Paris. The plot follows three cops, all flawed in their very different ways; one of them, ‘Trashcan’ Jack Vincennes (“I’m a cop and I’m Hollywood”), is virtually a movie-world celebrity in his own right, dating starlets, and official adviser on the TV series ‘Badge of Honor’ (a thinly disguised Dragnet). As you might imagine, nearly half the titles are related in some way to Hollywood. Little wonder they had need of ‘dolls’ – the book’s obscure slang term for the prescription pills that help to keep these far from doll-like women dreaming. The rooms and the landscapes are familiar to us Europeans from Edward Hopper’s paintings and Robert Frank’s photographs, and of course from movies, while the structure evokes American cinema’s quintessential genre. A young governess falls in love with her mysterious employer, but a terrible secret puts their happiness at risk. Here is the list of Malayalam movies that were/are inspired from books & novels. The book has the impetus of a true page-turner, but you sense that each page turned brings you closer to something awful: the forced smile of the clown revealed in all its horror. Though Bollywood is now corporatised and much more professional than it used to be, many of the practices depicted in the novel, such as nepotism and factionalism, still exist today. Dell’s humorous novel is set in the British film industry of the 1930s, when its somewhat conservative production methods were being shaken up by the arrival of dynamic figures from Europe. Spare and allusive dialogue; striking use of the edit;associative, atmospheric, elliptical narratives that play with time, space and linearity: DeLillo crafts a screen on the page before he even deploys the medium within his plotlines. Anyone who grew up in India in the 1970s and 1980s knows the story of the rise of superstar Amitabh Bachchan, his near-death experience on the sets of Coolie (1983), his brief stint in politics, and his implication and acquittal in a scandal around a deal the Indian government made with the Swedish armaments company Bofors. Yet, as the 100 novels and short stories described on the following pages show, literary disdain for film’s processes is often tempered by a deep and abiding love and fascination for what ends up on the screen. In 1938, Silvia Schulman had good reason to publish her comic novel I Lost My Girlish Laughter under the bland pseudonym ‘Jane Allen’. Clarence’s bloodline goes on to produce its own secular saint, film star Alma DeMott, who becomes a household name only to see cinema’s predominance shaken by the new phenomenon of television. In The Public Image, shortlisted for the Booker Prize in 1969, Muriel Spark sifts coolly through the implications. Schulberg’s second Hollywood morality tale, The Disenchanted, is nobody’s self-help book. Running Dog (1978) turns on pornographic reels allegedly involving the Führer, while The Names (1982) proposes the risky filming of an enigmatic cult. In diaries and memoirs, the pair recall adventures with Howard Hughes and Bugsy Siegel and sail from crisis to crisis with unflagging optimism and panache. Jorge Luis Borges called it “perfect”. His agent dismisses it as a joke, telling him “it has every single thing that Hollywood producers hate and despise, and that American audiences hate and despise – fornication, old people, current events and conversation.” So, too, does Ten Days in the Hills. It’s an immersive, sensory experience, in which 14-year-old non-conformist Moix comes to terms with his homosexuality through watching double-bills in the cinemas of the working-class red-light district of Barcelona where he grew up; here, Lana Turner, Marilyn Monroe and his beloved Bette Davis become celluloid matriarchs, equivalent to the real-life matriarchs who brought him up. But most of the narrative deals with the making of Fassbinder’s epic television series Berlin Alexanderplatz (1980) and an (entirely fictional) unproduced project on Muhammad Ali. Because they make them feel that they are everything” – chimed with my own adolescent snobbishness. Solange thinks he’s white.” The African-set scenes are both a hallucinogenic evocation of otherness and an object lesson in the arrogance of cultural appropriation. Toni Morrison’s first novel unravels the tragedy of young Pecola Breedlove, a dark-skinned black girl living in post-Depression era Ohio, where she is regularly reminded by young and old, white and black alike, that she is “ugly”. Featuring a blend of literary fiction, historical fiction, thrillers, memoirs, and more. 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