Abstract

This paper argues that though many adaptations of David Mamet's plays to film have been less than successful, the film version of Glengarry Glen Ross succeeds for a variety of reasons, including an Eisensteinian 'uninflected cut.' In a well-made Mamet film, one element of a scene comments on another, informing it, and that informs the audience's interpretive activity as they consider these uninflected cuts.

About the Author

Christopher Hudgins is Professor of English and chair of the English Department at the University of Nevada at Las Vegas. He co-edited with Leslie Kane the 2001 anthology Gender and Genre: Essays on David Mamet and is currently working on a book on Harold Pinter and film.

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