publisher colophon

229Index

Absalom, Absalom! (1936), 2, 8, 10, 15, 16, 20, 22, 73, 103–28, 140, 169, 174, 176–78, 186n. 27, 196n. 3

as critique of historical cinema, 105–7, 113–28

and cultural melancholy, 118–20

and melodrama, 126–27

Quentin as film spectator in, 120–22

resemblance to film, 116–18, 120–28

and romance, 113–18

and suture, 122–26, 128

visual language of, 114–17. See also vision, as simulated in reading

Adorno, Theodor W., 2–3, 5–8, 18–19, 24, 49, 183n. 8, 187n. 36, 209n. 22

Aesthetics and Politics, 187n. 36

aesthetic theory, 3, 5–6

Aesthetic Theory, 3, 6, 7, 9, 194n. 39

“Cultural Criticism and Society,” 7, 9, 49

“The Culture Industry,” 184n. 13

Dialect of Enlightenment, 184n. 13

immanent criticism, 49

and popular culture, 5

“Reconciliation Under Duress,” 219n. 5

African Americans, 15, 23, 69–70, 71, 73, 75, 77, 94, 113

stereotypes of, 8, 15, 23–24, 70, 72, 74, 79–80, 112–13, 186n. 24, 188n. 42

—as lustful, 70, 72, 80, 96

—as savage, 80, 85–86. See also race

allegory, 9, 27, 67

Allen, Richard, 211n. 34, 213n. 8

allusion, 7–8, 23, 66

Althusser, Louis, 199n. 18

American literature, 19th-century, 132, 212n. 4

American New Critics, 4

Arden, Eugene, 198n. 13

Armour, Robert A., 207n. 9

Arnold, Edwin T., 188n. 1, 192n. 27, 205n. 1

As I Lay Dying (1930), 8, 13, 16, 26, 28, 140, 191nn. 13&28, 192n. 24

Atlanta, 109

avant-garde, 31, 108

Badlands (dir. Terrence Malick, 1973), 215n. 18

Baldwin, Douglas, 187n. 39, 208n. 19

Balzac, Honore de, Pere Goriot, 202n. 36

Banta, Martha, 199n. 15

Barefoot, Guy, 211n. 37

Barnard, Rita, 182n. 6

Barthes, Roland, The Pleasure of the Text, 64–66, 208nn. 20&21

Baudry, Louis, 214n. 11

Benbow, Horace, 9, 27–30, 32, 58–61, 66, 164–65

and denial of physical pleasure, 51–54

elitism of, 55–56

as figure for modernist writer, 25–26, 29–30, 50–56, 65–66

and language, 50–51

Ben Hur (dir. Fred Niblo, 1925), 128

Benjamin, Walter, 185n. 22, 187n. 36, 201n. 29

Berry, Wallace, 1

Beverly Hills, 12, 185n. 21

Black Mask magazine, 26, 33, 76, 199n. 17

blackness, 69, 71, 82–85, 89, 97

black bodies, 102

as perceived threat, 69, 72–75

as spectacle, 70–72, 74–75. See also African Americans; race

Blotner, Joseph, 1, 32, 106, 181nn. 1&3, 184nn. 16&17, 189n. 7, 193n. 32, 206n. 6

Bogle, Donald, 186n. 24, 197n. 5, 6&9

Bon, Charles, 103, 114–18, 122–26, 211n. 36

Bonnie and Clyde (dir. Arthur Penn, 1967), 215n. 18

bootlegging, 25–26, 86, 87

Bovary, Emma, 3

Brady, Matthew, 185n. 22, 210n. 29

Broken Chains (dir. Robert Thornby, 1916), 73

Brooks, Peter, 202n. 33

Brown, Clarence, 184n. 16

Brown, Joe, 79, 82, 84–87

Bunch, Byron, 68, 70, 82, 84–85, 94, 101

Bundren, Darl, 195n. 42

Bundren, Vardaman, 192n. 24

Burden, Joanna, 10, 15, 70–71, 73, 77–78, 81–81, 95, 101

Burgess, Miranda, 72, 185n. 23, 198n. 11, 202n. 34, 205n. 1

Burnett, R.W., Little Caesar (1929), 26, 33–37

Bush, Laura L., 196n. 4

Cain, James, The Postman Always Rings Twice (1934), 191n. 18, 217n. 28

Campbell, Edward D. C., 196n. 2, 206n. 5

canon, 16–17, 23, 55, 66

capitalist abstraction, 163, 165, 167, 169–71, 172–75

as aspect of Snopesism, 172–75

carceral discipline, 91–95, 98. See also Christmas, Joe, as surveilled; surveillance; vision, as social discipline

Carpenter, Meta, 11

Century Magazine, 74

Champigny, Robert, 201n. 28

Christmas, Joe, 8, 10, 15, 23, 68–70, 73–89, 91–102, 176

as “fixed” racially, 97–98, 101–2

identity of, 75–78

as mass cultural figure, 73–75, 79–81

as surveilled, 69–70, 77–78, 81, 86–89, 91–93, 95–96, 99–102

Civil War, 11, 20, 110–11, 113, 119, 121–22, 126, 159, 185n. 22, 198n. 10, 210n. 29, 214n. 12

Clarke, Donald Henderson, Louis Beretti (1929), 36–38

class: and audiences for film, 111–12, 150–55, 196n. 2, 217n. 22

and elitism, 4, 6, 55–56

in representations of the masses, 54–57

Coe, Charles Francis, 26

Me, Gangster (1927), 27, 38

Cohan, Steven, 215n. 18

Cohen, Phillip, 189n. 5, 194n. 36, 195n. 41

Coldfield, Rosa, 10, 20, 106–7, 119–21, 126–28, 169, 210n. 32

visual language of, 104–5, 113–18

Compson, Benjy, 162–73, 175

and range of sense perception, 162–66, 168, 175

Compson, Caddy, 140, 162, 164, 166, 168

Compson, Jason, Jr., 167, 172

Compson, Jason, Sr., 104, 117, 126, 169

Compson, Quentin: in Absalom! Absalom!, 10, 22, 104–5, 120–28, 164–65, 174, 176, 210n. 32

in The Sound and The Fury, 127, 167

as viewer of Sutpen narrative, 120–28, 147

Confederate Spy (1910), 197n. 9

Conrad, Joseph, 26

Lord Jim, 55, 66, 188n. 1, 194n. 37

Nigger of the Narcissus, 170–71, 187n. 35, 219n. 10

visual style of, 170–71, 219n. 10

Cooper, Minnie, 12, 199n. 21

Cowley, Malcolm, 106

Crawford, Joan, 17, 22, 181n. 2, 206n. 2, 212n. 2, 215n. 18

in Possessed, 17

in Sadie McKee, 18

cultural criticism, 7, 9–10, 19, 23, 62. See also Adorno, Theodor W., “Cultural Criticism and Society”

cultural melancholy, 20, 118–20, 128, 155, 159–60, 168, 209n. 26

Dante, 154, 184n. 14

Dayan, Daniel, 22, 122, 211nn. 34&35

Debord, Guy, Society of the Spectacle, 5, 14

DeMille, Cecil B., 155

Depression, the, 120, 183–84n. 12, 214n. 14

dialectical, 16, 19, 21

Diamond Handcuffs (dir. John P. McCarthy, 1928), 73

DiBattista, Maria, 19, 182n. 6

Dickens, Charles, 94, 204n. 42

Bleak House, 93, 203–4n. 41

Oliver Twist, 93, 204n. 43

disaster, natural, 141, 214n. 14

Dixon, Thomas, 111

The Clansman, 74, 110, 184n. 17, 198n. 11, 206n. 6; The Leopard’s Spots, 206n. 6

Donnelly, Colleen E., 124–25

Douglas, Ann, 182n. 6

Drake, Temple, 8–9, 15, 39–49, 52–53, 57, 61–64, 66

as object of male gaze, 39–42

subjectivity of, 44–49

Easy Rider (dir. Peter Fonda, 1969), 215n. 18

Eisenstein, Sergei, 21, 154–55, 181n. 2, 184n. 14, 206n. 8

The Battleship Potemkin (1925), 154, 206n. 8

Strike (1925), 154

Eliot, T. S., 31, 45–46

“Love Song of J. Alfred Prufrock,” 186n. 27, 195n. 42

The Waste Land, 46, 177

Elsaesser, Thomas, 148, 216n. 20

Everyman, 216n. 20

family, 43

as Christian symbol, 94, 147

as instrument of social organizing, 94–95, 204n.

Falkner, Murry, The Falkners of Mississippi, 184n. 15, 206n. 4, 214n. 10

fantasy, 89

as expression of racial stereotype, 70, 89, 95

Faulkner, William, life of: class politics of, 154–55, 217nn. 24&25, 217n. 25

distaste for mass art, 1–2

film viewing by, 1, 11, 135, 171, 184n. 15, 206n. 4, 214n. 10

mass cultural production of, 1–2, 11–13, 16–17, 21–23, 177, 179, 181n. 3, 183n. 9, 187nn. 37&41

need for income in the thirties, 1–2, 13, 27, 31–32, 54, 167, 179, 181n. 3, 185n. 21, 190n. 10

relationship with film studios, 1, 13, 21, 181n. 3, 185n. 21

Faulkner, William, and modernism, 1–2, 5–9, 16–17, 23, 26–28, 31–33, 42–55, 59, 63–67, 81, 96, 106, 122, 140, 148–49, 162–63, 168–69, 171, 176–77, 179–80, 186n. 27, 186n. 28, 200n. 24

Faulkner, William, novelistic practice: characterization, 17, 62, 108, 148–49

interior monologue, 44–49, 58, 148–49

point of view technique, 45–46

thwarting of identification, 33, 38–39, 62, 66, 131, 134, 145–46, 195n. 45, 213nn. 6&9

visual aspects of, 9–10, 14–17, 19, 114–17, 183n. 11. See also gaze, the; vision, as simulated in reading

Faulkner, William, verbal technique: abstraction, 59, 99, 115, 131–33

aestheticizing, 95, 98–99, 102

excessive description, 139–43, 145

lyricism, 53

oxymoron, 51, 210n. 30

stylization, 2, 15, 45, 48, 50–51, 53, 60, 104–5, 113–15, 173–74, 209n. 21

synesthasia, 49, 51, 63, 168

syntax, 114

Faulkner, William, works by: Absolution (film treatment), 187n. 37

“All the Dead Pilots” (1931), 105

“Barn Burning”(1938), 13

Collected Stories (1950), 12–13

The College Widow (film treatment), 187n. 37

Dark House, 105

“Dry September”(1931), 12, 105, 199n. 21, 214n. 11

Flags in the Dust (1973), 26, 189n. 5

“Golden Land” (1935) 12–14, 105, 185n. 20

“Introduction to The Sound and The Fury,” 168, 178, 180

Intruder in the Dust (1948), 11

Mythical Latin American Kingdom, 186n. 26

“Preface” to Sanctuary (1932), 32, 183n. 9, 188n. 4, 198n. 7, 194n. 34

“Red Leaves” (1930), 1

The Road to Glory (1936), 21

Sartoris (1929), 187n. 37

Selected Letters (1977), 1, 105–6, 181n. 3, 185n. 21, 209n. 24, 210n. 31

Turnabout (film), 185n. 21

“Turnabout” (1932), 105, 206n. 3

The Unvanquished (1938), 177, 184n. 19, 186n. 29

Fiedler, Leslie, 74

Fielding, Henry, 203n. 38

Fighting Coward, The (dir. James Cruze, 1924), 107

film, 1, 2, 10, 14, 18, 33, 36, 40, 45, 49, 69–74, 77–78, 95, 96, 105, 112, 118, 122, 125, 128, 130, 135, 136, 138, 162

and the blockbuster, 11

cinematic identity, 42

class and audiences for, 111–12, 150–55, 196n. 2, 217n. 22

classical Hollywood cinema, 11, 108, 155, 183n. 12

commercial cinema, 44, 151, 170, 215n. 18

documentary, 207n. 9, 215n. 18

as dreamlike, 142, 187n. 40, 214n. 11

fantasy, 15, 119, 138

film idea, 6

film industry, 11, 105, 118

grammatical system of, 107–9

Kleig lights, 156–57

melodrama, 10, 17, 112, 126–27, 211n. 37

mise-en-scene, 139–40, 155

realism, 17, 108, 114, 186n. 31, 199n. 22, 207n. 9

representations of women in, 39–42, 46, 49

the road movie, 215n. 19

of southern history, 17, 19–21, 106–7, 112–13, 116, 118–19, 130, 136, 155, 159, 162, 184n. 18

spectatorship, 39–40, 70–72, 80–81, 121–25, 135, 137, 144, 146–47, 151–52, 156–59

and spectralizing, 15–17, 70, 78–81, 102, 200n. 24

visual pleasure in, 39–40, 44, 49, 192n. 22

war, 22. See also Hollywood; silent film

film theory, 21–22, 121

and dreaming, 187n. 40, 214n. 11

feminist, 192n. 22

film image, 187n. 34, 209n. 23

and film viewers’ subjectformation, 10, 213n. 8

and historical thought, 185n. 22, 186n. 30, 208n. 15

montage, 108, 187n. 38, 205n. 1

suture, 22, 122–26, 128, 210n. 34

Fitzgerald, F. Scott, 46, 177

Flaubert, Gustave, 3, 63, 66

Madame Bovary (1857), 26, 203n. 37

Folks, Jeffrey, 205n. 1

Fonda, Peter, 215n. 18

Ford, John, The Hurricane (1937), 17, 214n. 14

For Massa’s Sake (1911), 197n. 9

Foucault, Michel, 183n. 10, 194n. 33

Frankfurt School, the, 18, 185n. 22. See also Adorno, Theodor W.; Marxism

Frazer, James George, The Golden Bough (1922), 188n. 1

Freud, Sigmund, 20, 209n. 25

Gaines, Jane, 208n. 17

Gammel, Irene, 196n. 1

Garbo, Greta, 17, 137–38, 212n. 2

gaze, the, 8–10, 15, 38–42, 45, 48, 60, 185n. 23

carceral, 10, 24, 91–95

cinematic, 39–40, 70–72, 80–81, 121–25, 135, 144, 146–47, 151–52, 156–59

mass cultural, 76

modernist, 96. See also vision

gender, stereotypes of, 8, 24, 39–40, 42, 162, 188n. 42

genre, 7, 19, 44, 49–50, 58, 66, 70, 72, 81, 83, 86, 102, 126, 130, 132, 146–47, 155

crime, 10, 26, 46, 76, 82

detective, 17, 26, 46, 70, 76, 82, 199n. 19, 134

gangster, 8, 27, 30, 33–39, 50, 58, 61

mystery, 70, 83, 91, 96

romance, 15, 17, 70, 72–73, 132, 145, 148

roman noir, 19

tragedy, 149–50. See also film

German Expressionism, 181n. 2

Gibson, Pamela Church, 184n. 12

Gish, Lillian, 197n. 5

globalization, 182n. 7

Godden, Richard, Fictions of Labor, 142–43, 215n. 19, 217n. 28

“Degraded Culture Devalued Texts,” 218n. 2, 219n. 5

Goldman, Morton, 210n. 31

Goldman-Price, Irene, 192n. 22

Gone With the Wind (dir. Victor Fleming, 1939), 184n. 18, 210n. 29

Goodstone, Tony, 199n. 17

Goodwin, James, 207n. 8

Goodwin, Lee, 57, 59

Grant, Madison, The Passing of the Great Race (1916), 111

Great Migration, the, 110, 199n. 16

Greenberg, Clement, 4, 181n. 4

Greenblatt, Stephen, 188n. 42

Grella, George, 191n. 14

Gresset, Michelle, 183n. 11

Griffith, D. W., 21, 111, 112, 153, 207n. 9

The Birth of a Nation (1915), 11, 17, 20, 70, 72–74, 96–97, 107–13, 116, 119, 127–28, 184n. 17, 186n. 24, 196n. 2, 197n. 5, 198n. 11

Broken Blossoms (1919), 147

His Trust (1911), 107, 113

His Trust Fulfilled (1911), 107, 113

Home Sweet Home (1914), 147

Intolerance (1916), 152–53, 207n. 9

Musketeers of Pig Alley, 188n. 1

The Voice of the Violin (1909), 147

Grimm, Percy, 10, 70, 95–97, 100

Grimwood, Michael, 212n. 5, 214n. 14, 217n. 25

Grove, Lena, 94

and social mobility, 101–2

Gunning, Tom, 193n. 31

Hallmark Corporation, 213n. 7

Hamlet, The (1940), 173–75

Hammett, Dashiell, Red Harvest (1929), 26, 33–37

Handlin, Oscar, 111, 207n. 13, 209n. 28

Hannon, Charles, 212n. 4, 215n. 17

Hansen, Miriam, 209n. 22

Hark, Ina Rae, 215n. 18

Harlem, 15, 74. See also urbanism

Hawks, Howard, 11, 21

Hayward, Susan, 184n. 12

Heath, Stephen, 123, 209n. 23

Hemingway, Ernest, 31

Hightower, Gail, 81–85, 100–101

sexuality of, 100

Hill, John, 184n. 12

Hines, Doc, 10, 70, 93–94

history, 24, 65, 110, 116, 122–23, 125–26, 128

historical thought, 17, 185n. 22, 186n. 30, 208n. 15. See also film, of southern history; southern history

Hollywood, 2, 11–13, 17, 105–7, 155, 181n. 2, 182n. 4, 183n. 12, 185n. 21, 187n. 32, 195n. 41, 205n. 1, 206n. 2

and classical cinema, 11, 108, 155, 183n. 12

and commercial cinema, 44, 151, 170, 215n. 18

Hollywood film studios: MGM, 1, 22, 107, 112, 181n. 3, 184n. 12, 184n. 19, 185n. 21

Paramount, 190n. 11

RKO, 184n. 12

Twentieth Century Fox, 11, 107, 112, 181n. 3, 184n. 12

Universal, 107

Warner Brothers, 181n. 3, 184n. 12

Homer, 215n. 18

The Iliad, 217n. 24

Hopper, Dennis, 215n. 18

Horkheimer, Max, Dialectic of Enlightenment (1944), 184n. 13

Howe, Irving, 182n. 5, 190n. 10, 194n. 33

Hughes, Langston, 198n. 12

Huyssen, Andreas, 183n. 8

The Great Divide, 2–5, 19, 30–32, 182n. 6, 190n. 9

“High/Low in an Expanded Field,” 182n. 7, 190n. 9

ideology, 23, 72, 87, 107, 109–10, 127, 142, 170

If I Forget Thee, Jerusalem (1939), 2, 8, 9–10, 17–18, 105, 129–60, 178, 181n. 2, 186n. 27, 199n. 20, 205n. 2. See also “Old Man”; “Wild Palms”

immanence, 5–10, 18–19, 49–54, 62, 65, 106–13, 130–31, 138, 142–43

immigration, 110–11, 207nn. 12&13

interpellation, 70, 76, 78, 199n. 18

irony, 55, 148, 150, 160, 178

It Happened One Night (dir. Frank Capra, 1934), 215n. 18

jail cells, 28, 155, 158–62, 172–73, 175–80, 189n. 6

as figure for consumers’ entrapment, 155–56, 159–60

as figure for space: —of Faulkner’s modernist writing, 176–177, 179–80

—of mass cultural production, 176, 178–179

James, Henry, 31

Jameson, Fredric, 5, 19, 32

“Magical Realism in Film,” 186n. 31

The Political Unconscious, 165–66, 169–71, 187n. 35, 219n. 8

Postmodernism, 5, 212n. 4

“Reification and Utopia in Mass Culture,” 18–19

Signatures of the Visible, 18, 185n. 22, 208n. 21

theory of commodities, 187n. 33

Jay, Martin, 203n. 40

Jefferson, Mississippi, as setting in Faulkner’s fiction, 12, 28, 68–69, 73, 77, 94–95, 97, 104, 176

Johnson, James Weldon, 198n. 12

Johnson, Susie Paul, 181n. 2

Joyce, James: Portrait of the Artist as a Young Man (1916), 51, 194n. 33

Ulysses (1922), 11, 47, 177

Kalifornia (dir. Dominic Sena, 1993), 215n. 18

Kawin, Bruce, 21, 106, 184nn. 14&17, 186n. 26, 187nn. 37&39, 205n. 1, 210n. 30, 217n. 26, 219n. 3

Keats, John, 26

Kennedy, Sheriff Watt, 89–91, 100

King, Vincent Allan, 188n. 41

Kirby, Jack Temple, 198n. 10

Kleig lights, 156–57

Knight, Pamela Rhodes, 218n. 2, 219n. 5

Kracauer, Siegfried, 22

From Caligari to Hitler, 186n. 30, 208n. 15

“On Photography,” 185n. 22

Theory of Film, 187nn. 34&40, 209n. 23, 214n. 11

Kreiswirth, Martin, 201nn. 27&30

Ku Klux Klan, 73, 97, 107–8, 110, 198n. 10, 204n. 45

Lacan, Jacques, 10, 213n. 8

Lang, Robert, 139, 141

Lange, Dorthea, 214n. 14

Langford, Gerald, 189n. 5

Lauretis, Teresa de, 201n. 28, 202n. 33

Lawrence, Massachusetts, 152

Leonard, Garry, 51–52, 194n. 33

Levenstein, Jessica, 217n. 24

Light in August (1932), 2, 14–16, 20, 22–24, 68–102, 140, 172, 176–78, 183n. 10, 186n. 24

and mystery genre, 81–85, 90, 96

omniscience in, 86–90

and popular culture, 73–76, 96–97

and racial coding, 99–102

social ordering in, 91–95, 99–100

and the spectacle of black rape, 70–73, 96. See also Christmas, Joe; policing

Little Caesar (dir. Mervyn LeRoy, 1930), 188n. 1

Lorentz, Pare, 17, 214n. 14

Lukacs, Georg, Theory of the Novel (1920), 166, 219n. 5

Luxembourg Gardens (Paris), 62–64, 66

lynching, 204n. 45, 207n. 12

Mankiewicz, Joseph, 193n. 30

Marx, Karl, 165–66, 187n. 33. See also Frankfurt School; Marxism

Marxism, 4, 18, 154–55, 163, 169. See also Adorno, Theodor W.; capitalist abstraction; Frankfurt School

masochism, 157, 159

mass culture, 1–3, 5, 8, 23–24, 39, 51, 56–57, 75–78, 102, 162, 168, 170, 172–73, 175–79

bestseller, 23

commodity, 3, 14, 18–19, 24, 39–42, 45, 51–52, 146, 155

commodity fetishism, 4, 41, 162

culture industry, 57–58

editors, 1, 16, 172, 178

hack writing, 26, 30, 178

journalism, 2, 15–16, 36–37, 178, 185n. 20

kitsch, 4, 181n. 4

magazines, 1, 35, 76, 181n. 4

mass market, 23, 61–62, 146

potboiler, 38, 49, 81

pulp fiction, 27, 33–38, 49, 52, 65, 70, 134, 155, 178

technical/mass media, 5–16, 33, 161, 170. See also Adorno, Theodor W.; Huyssen, Andreas; modernism, separation from mass culture

Massey, Linton, 189n. 5

Matthews, John T., 22, 181n. 3, 186n. 29, 205n. 1, 206n. 3, 218nn. 1&2

May, Lary, 196n. 2, 207n. 14, 217nn. 22&23

Meats, Steven, 200n. 26, 202n. 31

McCannon, Shreve, 20, 119, 121–28, 174, 210n. 32

McCoy, Horace, They Shoot Horses, Don’t They? (1935), 191n. 18, 217n. 28

McHaney, Thomas L., 217n. 27

McKay, Claude, Home to Harlem (1928), 198n. 13

McKee, Patricia, 196n. 1

Meisel, Martin, 211n. 37

melodrama, 10, 17, 112, 126–27, 159, 211n. 37

domestic, 130, 132, 146–150

film, 10, 17, 112, 126–27, 131, 139–45, 211n. 37

as genre for early proletarian audiences, 151–54

and mise-en-scene, 139–140

roots in English morality play, 216n. 20

and silence, 138–42

theatrical, 131, 139–42, 148–49

Victorian mores in, 148, 150, 216n. 20

Memphis, as setting in Faulkner’s fiction, 44–45, 48, 53, 58–59, 66

Meriweather, John, 189n. 7, 215n. 16

Metz, Christian, 214n. 11

Miesal, Martin, 139

Miller, D. A., 84, 87–88, 94, 99–101, 183n. 10, 202n. 36, 203n. 37, 204n. 43

Miller, Francis Trevelyn, 119

Millgate, Michael, 189n. 7, 195n. 44, 215n. 16

Mississippi River, 8, 10–11, 131–32, 137–41

as figure for movie screen, 130–32, 135–36, 141, 144

flooding of, 132, 134

as mirror, 131–33, 216n. 19

1927 Great Flood of, 214n. 14

as space of dreaming, 134–35

Mitchell, Margaret, Gone With the Wind (1936), 137, 214n. 12

modernism, 1–4, 8, 16, 23, 26, 49, 65, 96, 130, 161–62, 166, 168, 172, 177, 179

and abstraction, 42, 48

aesthetics of, 26

and affinities with film, 80–81, 200n. 25, 216n. 21

and anxiety about commercial success, 31, 54, 190n. 10

autonomy of, 30–32, 44, 65, 179

critique of, 49–54

denial of physical pleasure in, 51–54

dissonance in, 8, 66

flashback use in, 27, 96, 195n. 41, 195n. 42

fragmentation in, 8, 16, 32, 60, 96, 106

as high culture, 18, 172

and interiority, 27, 58, 148–49

interior monologue, 32, 47–49, 195n. 41

and narrative structure, 8, 58

self–critique, 9, 49–54, 65–67

separation from mass culture, 2–6, 19, 30–32, 44, 181n. 4, 182nn. 5&7

and spatial form, 42–44, 200n. 25

stylized language in, 23, 48–49, 186n. 28

temporality in, 32, 47–48

theories of, 2–8, 14, 18, 30–32, 49, 171, 181n. 4, 182nn. 5, 6&7, 183n. 8

treatment of subjectivity, 28, 44–49. See also Faulkner, William, and modernism; Faulkner, William, verbal technique

modernity, 4–5, 16, 66, 119, 163, 171, 176, 179

and the city, 46, 186n. 28

mechanization, 16, 34, 186n. 28

role of vision in, 10, 14–15, 162, 170, 185n. 22

Monaco, James, 184n. 12

Moreland, Richard, 20, 118, 209nn. 25&26

Mulvey, Laura, 192n. 22, 211n. 37, 213n. 8

Naremore, James, 36–37, 190n. 12

nativism, 110–12, 119

Nestby, James R., 186n. 24

Neumann, Peter Claus, 196n. 1

New Orleans, as setting in Faulkner’s fiction, 16, 146, 212n. 3

Nicholson, Jack, 215n. 18

Noble, Peter, 113, 197n. 8, 208n. 16

North, Michael, 182n. 6

nostalgia, 112, 119–20, 128, 159–60

No Way Out (dir. Joseph Mankiewicz, 1950), 193n. 30

“Old Man,” 8, 17, 130, 131–45, 160

pictorialism in, 138–43

spectacle in, 139–43

stasis in, 39–43. See also Tall Convict

Old South myth, 103–4, 113, 118, 121, 126, 155. See also film, of southern history of; Page, Thomas Nelson

omniscience, 86–91

Orvell, Miles, 185n. 22

Oudart, Jean-Pierre, 122, 210n. 34

Oxford, Mississippi, as setting in Faulkner’s novel, 11, 55, 105, 184n. 15, 184nn. 16&17, 206n. 4

Page, Thomas Nelson: Burial of the Guns (1894), 74

“Marse Chan” (1883), 74

Red Rock (1898), 74

Palmer, Attorney General A. Mitchell, 112

Parchman Prison, 131, 161, 176, 220n. 12

Parker, Robert Dale, 201n. 27

parody, 7, 33–38, 40, 131, 132, 145, 161, 213n. 7, 217n. 24

Perkins, Hoke, 75

Pettey, Homer, B., 192n. 26

photography, 9, 14, 45, 52, 120, 162, 185n. 22, 210n. 29

and film, 14

and realism, 45

policing, 10, 70

of Joe Christmas, 23, 69–70, 81–84, 86–91, 95, 96, 99. See also Miller, D. A.; omniscience

Polk, Noel, 27, 29–30, 188n. 3, 189nn. 5&6, 190n. 10, 210n. 33

Popeye, 8–9, 25, 29, 40, 42, 43–47, 50, 53, 55, 57–58, 61–63, 165, 213n. 6

as comic strip, 191n. 16

as figure for mass cultural production, 26–28, 30, 64, 66

as parody of gangster fiction, 33–39, 63–64

pornography, 17, 52, 64

as figure for mass culture, 155–59, 173

and Harry Wilbourne, 146, 155–59

Porter, Carolyn, 169, 183n. 11, 218n. 2, 219nn. 7&9

Porter, Edwin, Uncle Tom’s Cabin (1903), 17, 107, 197n. 9

postmodernism, 5, 212n. 4

Pound, Ezra, 31

proletarian labor: as audience of silent film, 150–55, 217n. 22

as organized labor, 111–12

in “Wild Palms,” 24, 150–55

proletarian literature, 177, 217n. 24

Public Enemy, The (dir. William Wellman, 1931), 188n. 1

Pylon (1935), 2, 10, 13, 15–16, 105–6, 177–78, 181n. 2, 185n. 20, 186nn. 27&29, 206n. 2

race, 8, 23–24, 74–76, 102, 111–13, 116, 162, 188n. 42, 207n. 12

miscegenation, 69. See also African Americans; blackness; whiteness

Railey, Kevin, 163, 189n. 5, 219n. 9

rape, 41, 45, 49, 52, 96

as connected to vision, 46

Ratliff, V. K., 173

Realism: in fiction, 45–46, 90, 134, 143–45

in film, 17, 108, 114, 186n. 31, 199n. 22, 207n. 9. See also photography; Sanctuary, realism of

Reddick, L. O., 204n. 45

reification, 10, 19, 66, 79. See also capitalist abstraction

Rittenmeyer, Charlotte, 130–31, 145–60, 205n. 2

as character in melodrama, 146–50

charcoal drawings by, 150–54

death of, 156–58

Rittenmeyer, “Rat,” as character in melodrama, 146–50

Road to Utopia (dir. Hal Walker, 1946), 215n. 18

Robeson, Paul, 113, 208n. 17

Rogin, Michael, 186n. 24, 196n. 2, 204nn. 44&45, 206n. 7, 207n. 12

Rouselle, Melinda McLeod, 188n. 1

Ruppersberg, Hugh, 183n. 11, 199n. 17

Sanctuary (1931), 2, 8–9, 15–16, 19, 22–23, 25–67, 130, 161, 172, 176, 178, 184n. 19, 186n. 27, 187nn. 37&41, 205n. 1

as commodity, 27, 58–62, 183n. 9, 188n. 4

compositional history of, 27–30, 58–61

and gangster fiction, 8, 33–39, 66

immanent critique of modernism in, 49–54

male gaze in, 39–42

modernism of, 26–28, 30–32, 42–45, 65

and modernist denial of physical pleasure, 51–54

realism of, 58–61

spatial form in, 42–44

Temple Drake’s subjectivity in, 44–49

and textual pleasure, 64–66

and treatment of the masses, 54–58

Sanctuary: The Original Text (1981), 29, 51, 181n. 1, 182n. 25, 195n. 42

Saxon, Lyle, 214n. 14

Scarface (dir. Howard Hawks, 1932), 188n. 2

Scribner’s magazine, 1, 12

Selznick, David O., 137, 181n. 2, 184n. 18, 185n. 21, 210n. 29

sensationalism, 42, 70–71, 76, 81, 83–84, 146

sensation novel, 99

sense perception, 162–71, 173–75

as historicized, 18–19, 162–71, 175, 185n. 22, 187n. 36

sexuality, 49, 51–54, 69, 156–58

onanism, 9, 52, 158–60. See also race

Sherman, Jonathan, 193n. 30

silent film, 2, 11, 72, 74, 107, 112, 141, 150–55, 171, 210n. 30

and nickelodeons, 154, 173

political effects of, 155–59

as universal language, 153. See also Faulkner, William, life of, film viewing by

Simmel, Georg, 185n. 22

Singer, Ben, 185n. 22

slavery, 112–13, 208n. 18

Sloan, Paul, Hearts in Dixie (1929), 17, 107, 112–13, 116

Smith, Harrison, 1, 105, 172

Snead, James, 97–98, 203n. 38

Snopes, Clarence, 54, 56, 180

Snopes, Ike, 173–75

as non-reified consciousness, 175

and range of sense perception, 173–75

Snopesism, 172–73, 175–76

Something Wild (dir. Jonathan Demme, 1986), 215n. 18

Sontag, Susan, 185n. 22

Sound and The Fury, The (1929), 8, 16, 26, 28, 47, 106, 127, 140, 162–169, 171–72, 175, 177, 179–80, 189n. 7, 193n. 28

and experience of writerly ecstasy, 168, 177, 179

and privileged role in Faulkner’s career, 162–63, 165–68, 171–72, 175, 177–80

South, the, 14, 20, 109, 120, 127–28

and the plantation, 72, 135–36

romanticizing of, 103–5, 112–19, 122, 126–28

Southern “lady,” 72

southern history, 107, 109, 112, 115, 119, 122, 127–28, 179

and Jim Crow, 110, 196n. 4, 198n. 11

and Reconstruction, 107–9

Spicy Detective (Spicy Mystery), 76

Spiegal, Alan, 187n. 39, 205n. 1, 216n. 21

Staiger, Janet, 207n. 10, 208n. 17

Stein, Gertrude, 198n. 12

Stereotype. See African Americans; gender; race

Stern, Seymour, 204n. 44

Stevens, Wallace, 31

Story of Temple Drake, The (dir. Stephen Roberts, 1932), 190n. 11

Stowe, Harriet Beecher, 197n. 9

Sundquist, Eric, 162, 198n. 11

surveillance, 10, 14, 23–24, 45, 69–70, 72, 77–78, 81–82, 86–89, 91–93, 95–96, 99–100

Sutpen, Henry, 122–26, 211n. 36

Sutpen, Judith, 104, 114, 117, 123

Sutpen, Thomas, 8, 10, 103–4, 117–18, 120, 123, 165, 210n. 32, 211n. 36

as defined by calculating vision, 169, 172

Tall Convict, 133–34, 137–38, 141, 144, 172, 176, 179

as film viewer, 137, 214n. 13

and identity formation, 137, 213n. 8

as reader of pulp fiction, 134, 137

and state of reverie, 133, 140

Thalberg, Irving, 21

Thurman, Wallace, The Blacker the Berry (1928), 198n. 13

Trachtenberg, Alan, 119, 185n. 22, 209n. 27, 210n. 29

transcendence, 7, 49, 65, 169, 171, 179

Trouard, Dawn, 188n. 1, 192n. 27

True Romance (dir. Tony Scott, 1993), 215n. 18

Twain, Mark, 212n. 4

Underworld (dir. Josef von Sternberg, 1927), 188n. 1

urbanism, 46, 74–75, 111, 151, 154, 173. See also modernity, and the city

Urgo, Joseph, 205n. 1

Van Vechten, Carl, Nigger Heaven (1926), 15, 74–75, 198n. 12. See also African Americans; race

Vidor, King, Hallelujah! (1930), 112–13, 116

violence, 13, 23–24, 34, 55, 58–59, 69, 81, 83, 86, 99–101, 195n. 43

and razor, 74, 79

in revision of Sanctuary, 57, 60–61

and revolver, 25, 34, 85

and social discipline, 68–69

as spectacle, 15, 17, 57

vision, 9–10, 14, 17, 29–30, 39–42, 45–47, 60, 66–72, 76–78, 80–81, 86, 91–93, 95–96, 98–101, 113–15, 117–20, 122, 124–25, 133, 138–44, 146–47, 150–59, 117, 161–65, 167–71, 173–75

as collective activity, 16, 41, 69–72, 96, 102

as corollary of capitalist abstraction, 164, 167–69, 171, 175

perspective, 16, 45, 96, 171, 216n. 21

as rape, 46–47

and reflexivity, 10, 29–30, 53, 146, 216n. 19

as reifying, 18–19, 168, 170–71

scopophilia, 39

as simulated in reading, 41, 45–46, 49, 114–15, 117–18, 124, 133, 147

as social discipline, 14, 68–69, 70, 72, 88, 93–96, 99, 161–63

spectacle, 42, 57, 70–75, 96, 113, 121, 155

as state apparatus, 70, 95–96, 100

as violence, 69

voyeurism, 9, 39–41, 71, 112, 120–21, 156, 173. See also Faulkner, William, novelistic practices; film, spectatorship; modernity, role of vision in

Wasson, Ben, 185n. 21

Weine, Robert, The Cabinet of Dr. Calligari (1918), 181n. 2

Weinstein, Arnold, 219n. 4

Weinstein, Philip, 188n. 42, 200n. 25

West, Nathanael, 177

The Day of the Locust (1939), 184n. 20, Miss Lonelyhearts (1933), 185n. 20

West of Zanzibar (dir. Tod Browning, 1928), 73

Wharton, Edith, 192n. 22

White, Hayden, 200n. 24

whiteness, 69, 101

notions of white innocence, 72

Wilbourne, Harry, 10, 18, 130–31, 145–60, 164–65, 167, 172, 176, 179, 205n. 2

as consumer of pornography, 155–59

as film viewer, 145–50, 155–56, 173, 216n. 21

passivity of, 151, 156, 159, 168

as writer of pornography, 146

“Wild Palms,” 10, 17, 130, 132, 145–160

adultery in, 146

critique of melodrama in, 145–50

and empathy, 145

jail cells in, 155–56, 159–69, 176

pornography in, 155–59

and proletarian audience for early film, 151–54

as travel narrative, 142–43

Wilson, Woodrow, 110

Wister, Owen, The Virginian (1902), 17, 212n. 2

Wittenberg, Judith, 97, 200n. 24, 201n. 30, 204n. 46

Woolf, Virginia, Between the Acts (1941), 200n. 24

Works Progress Administration, 17, 214n. 14

World War I, 110, 187n. 37, 208n. 15

Yoknapatawpha County, 45, 171, 199n. 16

Zeitlin, Michael, 186n. 28

Zender, Karl, 220n. 11

Zuidervaart, Lambert, 3

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Additional Information

ISBN
9781421427676
Related ISBN
9781421427553
MARC Record
OCLC
1048233278
Pages
229-238
Launched on MUSE
2018-08-15
Language
English
Open Access
Yes
Creative Commons
CC-BY-NC-ND
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