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9780814211175

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The result of extensive archival research, Tabloid, Inc. is a lively and well-written book that tells an interesting story from beginning to end. Pelizzon and West s enthusiasm for their material shines throughout the work, and they make a convincing case for both the inherent interest of the neglected tabloids and their centrality to Hollywood productions in the 1930s. Jared Gardner, associate professor of English, The Ohio State University

The result of extensive archival research, Tabloid, Inc. is a lively and well-written book that tells an interesting story from beginning to end. Pelizzon and West's enthusiasm for their material shines throughout the work, and they make a convincing case for both the inherent interest of the neglected tabloids and their centrality to Hollywood productions in the 1930s. --Jared Gardner, associate professor of English, The Ohio State University How is it that tabloids still seem trashy while crime films like The Public Enemy and Double Indemnity look artier by the year? Pelizzon and West have tackled this and other stubborn intermedial questions by examining tabloid reporting and Hollywood crime films side by side. Their ingenious approach, the diligence of their historical and textual research, and their coinage of narrative mobility to frame the process by which American cinema and other media appropriated sensationalist journalism in the 1920s and 1930s (and beyond) will prove invaluable to critics and theorists wishing to address intermedia adaptation without slighting the political questions of class and taste. --Paul Young, English and Film Studies, Vanderbilt University

How is it that tabloids still seem trashy while crime films like The Public Enemy and Double Indemnity look artier by the year? Pelizzon and West have tackled this and other stubborn intermedial questions by examining tabloid reporting and Hollywood crime films side by side. Their ingenious approach, the diligence of their historical and textual research, and their coinage of narrative mobility to frame the process by which American cinema and other media appropriated sensationalist journalism in the 1920s and 1930s (and beyond) will prove invaluable to critics and theorists wishing to address intermedia adaptation without slighting the political questions of class and taste. --Paul Young, English and Film Studies, Vanderbilt University

Author Information

V. Penelope Pelizzon is associate professor and director of the Creative Writing Program at the University of Connecticut, Storrs. Nancy M. West is associate professor of English at the University of Missouri.

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