Graham Greene and the Politics of Popular Fiction and Film

One of the most popular, respected and controversial writers of the twentieth century, Greene's work has still attracted relatively little scholarly comment. Thomson charts the intricate dance between his novels and screenplays, his many audiences, and an intellectual establishment reluctant to identify the work of a popular writer as 'literature'.

Autorentext
BRIAN LINDSAY THOMSON holds a PhD from University College Dublin, Ireland, co-edits the Internationalist Review of Irish Culture, and is a board member of the NYCLU Nassau Chapter. He is also President of Mea Culpa Pictures and has recently completed his first feature film.

Inhalt
Acknowledgements Introduction: The Politics of Reading Greene PART I: FROM FAILED NOVELIST TO POPULAR WRITER Institutional and Critical Priorities at the Beginning of Graham Greene's Career The Failed Novelist Readers and Generic Processes in Stamboul Train Cinema as a Strategy of Containment PART II: FROM POPULAR WRITER TO AUTHOR Cinematic Evasions After Stamboul Train Greene and Genre Strategic Moves: Genres, Brand, Authors and The Third Man Amateurs and Professionals, Auteurs and Intellectuals PART III: FROM AUTHOR TO CONTESTED AUTHORITY Auteurism and the Study of Greene Our Man in Havana and Auteurism PART IV: THE POLEMICAL BATTLEFIELD Greene and the Polemics of Canonical Reading Depopulating the Common: Reading The End of the Affair Liberal Commitment: Reading The Quiet American Appropriating Greene: Re-reading The End of the Affair and The Quiet American Conclusion: The Problem of a 'Better Case' Index