Show Summary Details
- Title Pages
- Figures and Tables
- Notes on Contributors
- Acknowledgments
- Introduction: Who’s Kidding?— Approaching Elaine May
-
Chapter 1 Teenagers on Stage—The Comedy of Elaine May and Mike Nichols -
Chapter 2 Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema -
Chapter 3 Dangerous Business—Elaine May as Existential Improviser -
Chapter 4 Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy -
Chapter 5 “Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It”: A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972) -
Chapter 6 Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection -
Chapter 7 Cartographies of Catastrophe— Elaine May’s Ishtar (1987) -
Chapter 8 In/Significant Gestures— Elaine May, Screen Performance, and Embodied Collaboration -
Chapter 9 Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People -
Chapter 10 Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse -
Chapter 11 When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan - Bibliography
- Index
Title Pages
Title Pages
- Source:
- ReFocus: The Films of Elaine May
- Author(s):
- Alexandra Heller-Nicholas, Dean Brandum
- Publisher:
- Edinburgh University Press
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- Title Pages
- Figures and Tables
- Notes on Contributors
- Acknowledgments
- Introduction: Who’s Kidding?— Approaching Elaine May
-
Chapter 1 Teenagers on Stage—The Comedy of Elaine May and Mike Nichols -
Chapter 2 Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema -
Chapter 3 Dangerous Business—Elaine May as Existential Improviser -
Chapter 4 Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy -
Chapter 5 “Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It”: A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972) -
Chapter 6 Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection -
Chapter 7 Cartographies of Catastrophe— Elaine May’s Ishtar (1987) -
Chapter 8 In/Significant Gestures— Elaine May, Screen Performance, and Embodied Collaboration -
Chapter 9 Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People -
Chapter 10 Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse -
Chapter 11 When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan - Bibliography
- Index
