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Content
- Intro
- List of Figures
- Acknowledgments
- Notes on Contributors
- Introduction: William Wyler-Chariot Races and Flower Shows
- Part I Style
- 1 Wyler's Early Films: Evolution of the "Styleless Style"
- 2 More than Meets the Eye: Perspectives on William Wyler and the Auteur Theory
- 3 Traumatic History and the Prosthesis of Myth in Wyler's The Best Years of Our Lives
- 4 Persistent Presence: Space and Time in the Films of William Wyler
- Part II Collaboration, Genre, and Adaptation
- 5 Clash of the Titans: The Hidden Collaboration of William Wyler and David O. Selznick on Carrie (1952)
- 6 Narratives of Failure: Dead End (1937), The Desperate Hours (1955), and Gangsters in Distress
- 7 Wyler's Wuthering Heights (1939): Genre, Transnationalism, and the Adaptation of the Victorian Novel
- Part III Gender and Sexuality
- 8 William Wyler's The Heiress (1949) and the Unknown Woman
- 9 These Three: Wyler and his Two Adaptations of The Children's Hour
- Part IV War and Peace
- 10 A War of the People: Destruction, Community, and Hope in William Wyler's Wartime Films
- 11 Turning the Other Cheek: Wyler's Pacifism Trilogy-Friendly Persuasion (1956), The Big Country (1958), and Ben-Hur (1959)
- Part V Global Wyler
- 12 William Wyler's Voyage to Italy: Roman Holiday (1953), Progressive Hollywood, and the Cold War
- 13 "Down Eros, Up Mars!": Post-Colonialism, Imperial Violence, and the Corrupting Influence of Hate in William Wyler's Ben-Hur (1959)
- 14 "Life Isn't Always What One Likes": The Unbearable Lightness of Royalty, and Other Stereotypes in Roman Holiday (1953)
- Filmography
- Academy Awards for Acting under Wyler
- Index
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