front cover of Matinee Melodrama
Matinee Melodrama
Playing with Formula in the Sound Serial
Higgins, Scott
Rutgers University Press, 2016
Long before Batman, Flash Gordon, or the Lone Ranger were the stars of their own TV shows, they had dedicated audiences watching their adventures each week. The difference was that this action took place on the big screen, in short adventure serials whose exciting cliffhangers compelled the young audience to return to the theater every seven days.
 
Matinee Melodrama is the first book about the adventure serial as a distinct artform, one that uniquely encouraged audience participation and imaginative play. Media scholar Scott Higgins proposes that the serial’s incoherent plotting and reliance on formula, far from being faults, should be understood as some of its most appealing attributes, helping to spawn an active fan culture. Further, he suggests these serials laid the groundwork not only for modern-day cinematic blockbusters like Star Wars and Raiders of the Lost Ark, but also for all kinds of interactive media that combine spectacle, storytelling, and play.
 
As it identifies key elements of the serial form—from stock characters to cliffhangers—Matinee Melodrama delves deeply into questions about the nature of suspense, the aesthetics of action, and the potentials of formulaic narrative. Yet it also provides readers with a loving look at everything from Zorro’s Fighting Legion to Daredevils of the Red Circle, conveying exactly why these films continue to thrill and enthrall their fans. 
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front cover of Scripting Hitchcock
Scripting Hitchcock
Psycho, The Birds, and Marnie
Walter Raubicheck and Walter Srebnick
University of Illinois Press, 2011
Scripting Hitchcock explores the collaborative process between Alfred Hitchcock and the screenwriters he hired to write the scripts for three of his greatest films: Psycho, The Birds, and Marnie. Drawing from extensive interviews with the screenwriters and other film technicians who worked for Hitchcock, Walter Raubicheck and Walter Srebnick illustrate how much of the filmmaking process took place not on the set or in front of the camera, but in the adaptation of the sources, the mutual creation of plot and characters by the director and the writers, and the various revisions of the written texts of the films.

Hitchcock allowed his writers a great deal of creative freedom, which resulted in dynamic screenplays that expanded traditional narrative and defied earlier conventions. Critically examining the question of authorship in film, Raubicheck and Srebnick argue that Hitchcock did establish visual and narrative priorities for his writers, but his role in the writing process was that of an editor. While the writers and their contributions have generally been underappreciated, this study reveals that all the dialogue and much of the narrative structure of the films were the work of screenwriters Jay Presson Allen, Joseph Stefano, and Evan Hunter. The writers also shaped American cultural themes into material specifically for actors such as Janet Leigh, Tippi Hedren, and Tony Perkins. This volume gives due credit to those writers who gave narrative form to Hitchcock's filmic vision.

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