Invasion of the body snatchers : Don Siegel, director
著者
書誌事項
Invasion of the body snatchers : Don Siegel, director
（Rutgers films in print, v. 14）
Rutgers University Press, c1989
- : pbk
- : cloth
大学図書館所蔵 全2件
注記
"Siegel filmography, 1945-1982": p. [225]-227
Bibliography: p. [229]-230
内容説明・目次
- 巻冊次
-
: cloth ISBN 9780813514604
内容説明
"Invasion of the Body Snatchers", directed by Don Siegel, is a low-budget science fiction film that has become a classic. In the film, the aliens - who look just like earthlings - replace people by growing as their doubles from womb-like pods. Although the film can be interpreted in interesting ways along psychological and feminist lines, its importance as a text has centered primarily on political and sociological readings. That is, the issue has been: who are "they"? For some, looking back on the conservative fifties, "they" has meant the Reds, and the film has been taken as its makers' warning against communist infiltration. For others, "they" is the fearful conformist American majority, forcing individualism into extinction. In his introduction to this volume, Al La Valley explores the politics of the original author of the magazine serial story on which the film is based, Jack Finney; of the film's producer, Walter Wanger; of its director, Don Siegel; and of its screenwriter, Daniel Mainwaring.
- 巻冊次
-
: pbk ISBN 9780813514611
内容説明
Invasion of the Body Snatchers (1956) is a low-budget science fiction film that has become a classic. The suspense of the film lies in discovering, along with Miles, the central character (played by Kevin McCarthy), who is "real" and who is not, and whether Miles and Becky (played by Dana Wynter) will escape the pod takeover. As the center of the film moves outward from a small-town group of neighbors to the larger political scene and institutional network (of police, the FBI, hospital workers), the ultimate question is whether "they" have taken over altogether. Although Invasion can be interpreted in interesting ways along psychological and feminist lines, its importance as a text has centered primarily on political and sociological readings. In his introduction to this volume, Al LaValley explores the politics of the original author of the magazine serial story on which the film is based, Don Siegel; and of its screenwriter, Daniel Mainwaring. And he looks at the ways the studio (Allied Artists) tried to neutralize certain readings by tacking on an explanatory frame story. The commentary section includes readings by Stephen King, Peter Biskind, Nora Sayre, and Peter Bogdanovich. A section of postproduction documents reproduced here (many for the first time) includes many written by Wanger and Siegel. The volume also contains two previously unpublished framing scripts written for Orson Welles. For students and individual enthusiasts, the contextual materials are particularly interesting in showing how crucial the postproduction history of a film can be. A filmography and bibliography are also included in the volume. Al LaValley is the director of film studies at Dartmouth. He is the author of many articles on film and editor of Mildred Pierce in the Wisconsin screenplay series.
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