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Auteurism and the Study of GreeneVarious political and economic factors conspired to make auteurism a viable intellectual discursive strategy in the 1950s and also to render Greene a suitable candidate for consideration as a literary auteur.

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Medikalisierung und Soziale Arbeitts that enabled intellectuals to valorize him in an institutionally useful way: as an ‘author’ or, as the young generation of critics and filmmakers at . and the . might have called him, as an ‘auteur’.

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Strategic Moves: Genres, Brands, Authors and ts that enabled intellectuals to valorize him in an institutionally useful way: as an ‘author’ or, as the young generation of critics and filmmakers at . and the . might have called him, as an ‘auteur’.

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Readers and Generic Processes in them to perform. . and . . did not emphasize plot: Chant and Chase found themselves in the midst of exciting historical events, but the narratives presented casual relationships between those events and the characters. They served as occasions for thought and reflection, rather than as subjects of t

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Cinema as a Strategy of Containmentf a novel did raise difficult questions, then the public should logically have responded to it with lumpenproletarian indifference and boredom. An adventure story—particularly one written by someone less exalted than a Leavis-authorized genius—should have been an adventure story: identifiable, predi

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Cinematic Evasions After 49) Greene wrote seven novels that reviewers insisted achieved their effects through the writer’s use of the ‘cinema technique’. Some of these novels—. (1936), . (1939), and . (1943)—deployed explicitly conventional characterizations and plot devices in order to achieve unconventional effects after

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Greene and Genreis work within the institutional contexts that supported them. Greene’s continuing popularity and his association with the cinema—not only as a novelist whose work adapted easily to the screen, but also as a writer for hire and as the . official film critic—prevented him from entering the pantheon o