![]() That seemed promising for a study of the adaptation process, and I was intrigued by the cultural politics. It was adapted from one of the more obscure novels on my list: The Brick Foxhole by Richard Brooks, in which the murder victim was a gay man. So I went to Madison on a fishing expedition, and in the papers of filmmaker Dore Schary, I reeled in a whopper.ĢSchary was a liberal Jew with a history of progressive activism and a reputation for making "message pictures." Upon taking over as RKO's vice president in charge of production in early 1947, one of the first movies Schary greenlighted was Crossfire-a film noir about the murder of a Jew by a bigoted ex-GI. Though I had decided already, as a way of narrowing the field, to focus on crime fiction that became film noir, my list of prospects was still impossibly long, and I hoped that archival research might help me narrow the topic further. At that point, I had a rather vague notion that I would write on the process of adapting novels to film. ![]() As I was beginning my dissertation research, I took a trip to the State Historical Society in Madison, Wisconsin. ![]() E-mail citation PDF version Introduction Discovering Crossfire: Texts and ContextsġThis project grew out of my lifelong passion for novels and movies (especially crime fiction and film noir), a commitment to progressive politics past and present, and a critical moment of archival serendipity. ![]()
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