- Title Pages
- Figures and Tables
- Notes on Contributors
- Introduction: Who’s Kidding?— Approaching Elaine May
Chapter 1Teenagers on Stage—The Comedy of Elaine May and Mike Nichols
Chapter 2Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema
Chapter 3Dangerous Business—Elaine May as Existential Improviser
Chapter 4Kneeling 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 6Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection
Chapter 7Cartographies of Catastrophe— Elaine May’s Ishtar (1987)
Chapter 8In/Significant Gestures— Elaine May, Screen Performance, and Embodied Collaboration
Chapter 9Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People
Chapter 10Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse
Chapter 11When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan
- ReFocus: The Films of Elaine May
- Alexandra Heller-Nicholas, Dean Brandum
- Edinburgh University Press
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