Gore vidal's early Hollywood: history, fiction and film Gore vidal's early Hollywood: history, fiction and film by Thomas LaBorie Burns

“…Although Gore Vidal has both worked as a Hollywood screenwriter and written criticism on Film—in this regard, he is perhaps best known for a sustained attack on the auteur theory of the magisterial director—I am concerned in this paper mainly with his fiction account of the early days of film-making in his novel Hollywood (1990) and the relation of film to national political life depicted therein. …”
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The Fundamental Re-writing: Religious Texts and Contemporary Narrative. Gore Vidal's Live from Golgotha, Salman Rushdie's The Satanic Verses, José Saramago's O Evangelho Segundo Jesus Cristo by Horácio Costa

Subjects: “…Gore Vidal…”
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Myra Breckinridge et le passager clandestin. Kitsch, camp et inconscient hollywoodien by Grégoire Halbout

“…This loose adaptation from Gore Vidal’s semi-pornographic novel (1968) attacks the Hollywood myths and questions film genre categories, the star system and gender identity. …”
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Metaphysics, Universal Irony, and Richard Rorty’s “We Ironists” by Timo Airaksinen

“…I refer to Hegel, Gerald Doherty’s “pornographic” writings, and Gore Vidal’s non-academic critique of academic literary criticism. …”
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Myth and memory in the “queen of dreams” by Gloria Montero

“…Aristotle said that where the historian tells us what took place, the poet tells us how it came about. More recently, Gore Vidal defined ‘memoir’ as how one remembers one’s own life as distinct from an autobiography which is history, requiring research into dates and facts which must be double-checked. …”
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Bumping as a way of life: the pursuit of a queer relationality to come in the work of Jacques Derrida, Hélène Cixous, and Christopher Isherwood by Watson, EA

“…I examine the circulation and development of the horrific fag hag with/among his male contemporaries (using published and previously undiscovered letters and works by Gore Vidal and Tennessee Williams) and his readers. …”

Cinema as a form of composition by Michele Guerra

“…The star system served to fuel this working method, with these major actors also representing both forces and materials in the hands of an approach to the filmmaking which had the ultimate objective of constructing the perfect film, in which everything had to function according to a rule rooted in both the aesthetic and the economic. Gore Vidal wrote that from 1939 onwards, Hollywood did not produce a single “wrong” film: indeed, whilst certainly hyperbolic, this claim confirms that that system produced films that were never wrong, never off-key, but instead always perfectly in tune with what the studios wished to achieve.  …”
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