Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-26T15:02:00.912Z Has data issue: false hasContentIssue false

Chapter 15 - The Scarlet Letter in Film

from Part II - Popular Culture and Social Movements

Published online by Cambridge University Press:  26 November 2018

By
Kristin Boudreau
Edited by
Monika M. Elbert
Monika M. Elbert
Affiliation:
Montclair State University, New Jersey
Get access
Type
Chapter
Information
Nathaniel Hawthorne in Context , pp. 179 - 190
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Barlowe, Jamie. “Demi’s Hester and Hester’s Demi(se): The New Scarlet Letter and Its Spectators.” In The Scarlet Mob of Scribblers: Re-Reading Hester Prynne. Carbondale: Southern Illinois University Press, 2000: 80–120.Google Scholar
Boudreau, Kristin. “Is the World Then So Narrow? Feminist Cinematic Adaptations of Hawthorne and James.” The Henry James Review 21 (2000): 43–53.Google Scholar
Brouwers, Anke. “The New Mother: Maternal Instinct as Sexual Liberation in Victor Sjöström’s The Scarlet Letter (1926).” Quarterly Review of Film and Video 24 (2007): 249–266.Google Scholar
Dunne, Michael. “The Scarlet Letter on Film: Ninety Years of Revisioning.” Literature Film Quarterly 25.1 (1997): 30–39.Google Scholar
Elbert, Monika. Enriched eBook Features. The Scarlet Letter. Penguin Enriched eBook Classic. Kindle edition, 2008. Includes filmography.Google Scholar
Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8.3–4 (1986): 63–70.Google Scholar
Kael, Pauline. Kiss Kiss Bang Bang. Boston: Little, Brown. 1968.Google Scholar
Kerr, Paul. “Out of What Past?: Notes on the B Film Noir.” In The Hollywood Film Industry: A Reader, ed. Kerr, Paul, 220–245. London: Routledge, 1985.Google Scholar
Limbacher, James L. Feature Films on 8mm and 16mm: A Directory of Feature Films Available for Rental, Sale and Lease in the United States, with Serials and Directors’ Indexes. New York: R. R. Bowker, 1974.Google Scholar
Normand, Jean. Nathaniel Hawthorne: An Approach to an Analysis of Artistic Creation. Trans. Derek Cotman. Cleveland, OH: Case Western Reserve University Press, 1970.Google Scholar
Oderman, Stuart. Lillian Gish: A Life on Stage and Screen. Jefferson, NC: McFarland & Co., 2000.Google Scholar
Paine, Albert Bigelow. Life and Lillian Gish. New York: Macmillan, 1932.Google Scholar
“Progressive Silent Film List.” Carl Bennett and the Silent Era Company, 1999–2015. Silentera.com.Google Scholar
Raw, Laurence. “The Small-Town Scarlet Letter (1934).” In In/fidelity: Essays on Film Adaptation. Newcastle upon Tyne: Cambridge Scholars, 2008: 110–121.Google Scholar
Risen Light Film website. www.risenlightfilms.com/about-us/.Google Scholar
Sarris, Andrew. The American Cinema: Directors and Directions, 1929–1968. New York: Dutton, 1968.Google Scholar
Schneider, Steven Jay. 501 Movie Directors: A Comprehensive Guide to the Greatest Filmmakers. New York: Barron’s Educational Series, 2007.Google Scholar
Smith, Julian. “Hester, Sweet Hester Prynne: The Scarlet Letter in the Movie Market Place.” Literature/Film Quarterly 2 (1974): 100–109.Google Scholar
Wagenknecht, Edward. The Movies in the Age of Innocence. Norman: University of Oklahoma Press, 1962.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×