![]() ![]() ![]() ![]() More recently, a trio of novels have used various points in the history of the film industry as their settings. Nathanael West’s The Day of the Locust looms large here, as the way that the film industry can both inspire and destroy fuels the action within it. Sometimes, that inspiration can be historic in nature: the world of film as muse for a particular novel or story. But what happens when cinema itself is the inspiration for a work of fiction?īut what happens when cinema itself is the inspiration for a work of fiction? The list of authors who have written for the screen–whether adapting their own work, the work of others, or creating something entirely new–is vast. The influence between the two forms goes in both directions: John Dos Passos famously spoke of adapting Sergei Eisenstein’s theories of montage for the page, specifically in his novel Manhattan Transfer, and the ways in which Martin Scorsese’s adaptation of Edith Wharton’s The Age of Innocence weaves Wharton’s prose into the work as a whole is subtle yet resonant. That takes on forms that one might expect–high-profile films adapting novels for the screen, for instance–but it can also venture into spaces much more obscure. Sign up for our newsletter to get submission announcements and stay on top of our best work.Īs artistic disciplines go, narrative fiction and narrative cinema have had a considerable overlap over the years. ![]()
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