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Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
JACK ARNOLD Di Renato Venturelli
JACK ARNOLD di Renato Venturelli Tra gli autori della fantascienza anni ‘50, che rinnovò la tradizione del cinema fantastico e dell’horror, il nome che si impone con più evidenza è quello di Jack Amold. Il motivo di questo rilievo non sta tanto nell’ aver diretto i capolavori assoluti del decennio (La cosa è di Hawks, L’invasione degli ultracorpi è di Siegel...), quanto nell’aver realizzato un corpus di film compatto per stile e notevole nel suo insieme per quantità e qualità. Gli otto film fantastici realizzati fra il 1953 e il 1959 testimoniano cioè un autore riconoscibile, oltre a scandire tappe fondamentali per la mitologia del cinema fantastico, dalla Creatura della Laguna Nera (unico esempio degli anni ‘50 ad essere entrato nel pantheon dei mostri classici) alla gigantesca tarantola, dalla metafora esistenziale di Radiazioni B/X agli scenari desertici in cui l’uomo si trova improvvisamente di fronte ai limiti delle proprie conoscenze razionali. Uno dei motivi di compattezza del lavoro di Amold sta nella notevole autonomia con cui poté lavorare. Il suo primo film di fantascienza, Destinazione… Terra (1953), segnava infatti il primo tentativo in questa direzione (e nelle tre dimensioni) da parte della Universal-International. Il successo che ottenne, e che assieme agli incassi del Mostro della laguna nera risollevò la compagnia da una difficile situazione economica, fu tale da permettere ad Arnold di ritagliarsi una zona di relativa autonomia all’interno dello studio: “Nessuno a quell’epoca era un esperto nel fare film di fantascienza, così io pretesi di esserlo. Non lo ero, naturalmente, ma lo studio non lo sapeva, e così non si misero mai a discutere, qualsiasi cosa facessi”. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
The Atomic Infinite: Aesthetics of the Sublime in 1950S Science Fiction Film
The Atomic Infinite: Aesthetics of the Sublime in 1950s Science Fiction Film By David W. Jackson A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Film Studies School for Studies in Art and Culture Carleton University Ottawa, Ontario August 31, 2016 © 2016, David W. Jackson ii Abstract This thesis undertakes an aesthetic analysis of the sublime in 1950s American science fiction film. Although a number of scholars have analyzed this period of science fiction, little attention has been paid to aesthetics. Scholars have mostly looked at narrative, examining metaphors for nuclear anxiety in these films. I take these readings further, arguing that nuclear anxiety is the basis for a particular aesthetic style, one reflecting the sublime. In making my argument I refer to the discourse of the sublime including theorizing of the atomic bomb as an object of the sublime. I extend this discourse into film, arguing the atomic bomb sublime finds its way into the monster films of 1950s American science fiction. In reconciling the atomic bomb sublime, 1950s American science fiction film develops a particular aesthetic style and in so doing, must mediate the technology of the atomic bomb through film’s own technology. iii Acknowledgments First and foremost I want to thank my supervisor André Loiselle, whose invaluable advice and endless patience greatly elevated this thesis. Without his input I would never have been able to bring this project to completion. Additional thanks is required to the Carleton faculty, including Mitsuyo Wada-Marciano for her general support as Graduate Supervisor, Barbara Shannon in her role as Graduate Administrator, Diane Berezowksi and Nancy Duff of the Audio-Visual Resource Centre for access to the AVRC’s film collection and for the use of “Reginald” for all my printing needs. -
Fantasyland/Aggieland
FANTASYLAND/AGGIELAND: A Bibliographic History of Science Fiction and Fantasy at Texas A&M University and in Brazos County, Texas, 1913-1985. compiled by Bill Page College Station, TX 2007 Page 1 of 134 INTRODUCTION Bill Page None of the local activites before 1967 were part of any fannish organizations -- at least not as far as I can determine. There's really no way to pick an exact beginning date for the history of science fiction and fantasy in Brazos County. For example, Bryan had a book store by 1870. It probably sold an occasional fantasy or science fiction novel, such as The Tempest or Frankenstein. After the end of the Civil War, newspapers, including the Galveston News, could be purchased in the county, as were magazines such as Godey's Ladies Book and Leslies Illustrated Weekly. These carried an occasional sf/f story. Persons wanting to know more about the early history of newspapers, magazines, libraries, and literary societies in Brazos County should read the chapters "Libraries," "Lodges and Civic Organizations," and "Cultural History: The Arts and Recreation in the Nineteenth Century" in Brazos County History: Rich Past -- Bright Future. I'm not sure when the first fantasy or science fiction film was shown in the county. Movies came to Bryan at least as early as January 1897, when "the magniscope, Edison's latest and greatest invention in the way of vitascopes" appeared in the Grand Opera House. (See the Bryan Daily Eagle, January 28, 1897, p. 4, cols. 2, 6). Page 2 of 134 Additional Sources: Additional material on the fantastic at Texas A&M University after 1985 can be found in several sources. -
Ray Harryhausen
The Classic Horror Film Board Unofficial Archives: Men Behind the Monsters 4/9/05 - 9/13/07 All posters retain their copyright. This archive is for reference and review. No photos are duplicated. Posts which do not contribute to a thread have been deleted. Duplicate subjects (ie Ray Harryhusen) combined into one topic. Topics David Allen 2-4 Ray Harryhausen 41-75 Rick Baker 5-8 Nathan Juran 76 Jerome Bixby 9 Verne Langdon 77 Rob Bottin 10-11 David Lean 78-84 Tim Burton 12- 13 Jack Pierce 85-112 William Castle 14-18 George Romero 113-116 Don Chaffey 19-21 George Robinson 117 John Chambers 22-28 HG Wells 118-119 Lon Chaney 29 Vera West 120-122 Merian C Cooper 30-32 Bud Westmore 123-148 Jim Danforth 33-35 Perc Westmore 135 Joel Fletcher 36 Ed Wood 136-148 John P. Fulton 37-38 James Whale 149 Bert I. Gordon 39-40 Karel Zeman 150-161 Gorilla Suit Mystery 162-164 Medusa Makeup (7 Faces of Dr Lao) 164 Fredric March's Dr. Hyde Makeup (Wally Westmore) 165-170 Monster Makeup 171-175 War Eagles 176-182 Worse Makeup Ever 182-186 Unofficial CHFB Archives for "Men Behind The Monsters" 2 DAVID ALLEN - also repeated for JIM DANFORTH Dr Spyclops (11/7/06 1:06 am) The Incomplete Works of Jim Danforth and David Allen -------------------------------------------------------------------------------- Sadly, both of these great stop-motion artists seem to have created works that we'll never get to see. On imdb.com, there's a description for an unreleased Danforth film from 1985 that sounds fascinating called Zoo Ship.. -
Leslie Sheldon
Page 67 ‘The Great Disillusionment’: H.G. Wells, Mankind, and Aliens in American Invasion Horror Films of the 1950s Leslie Sheldon H.G. Well’s 1898 novel The War of The Worlds (published initially in 1897 as a series of installments in Pearson’s Magazine ) establishes many of the key thematic conventions and entertaining plot details evinced in ‘alien invasion horror’ cinema of the two subsequent centuries, most especially in American science fiction films of the 1950s. Aliens as vampires from a dying planet, as violent parasites, as rampaging machines, as brainswithouthearts using hightech heat rays on their human victims, originated in Wells’ seminal work; the deeper levels of social criticism found in the novel also making their way into such films. Though it is doubtless true that midcentury Hollywood alien invasion films frequently reflected Cold War paranoia towards either ‘Red Scare’ fears of Soviet invasion on the one hand, or of McCarthyera “creeping conformity” (1) on the other, these films (and even some of those of today) are also culturally centered within the original literary mythopoeia of Wells’ milestone science fiction ‘blueprint’. As the Hollywood producer George Pal noted of the 50s, “ War of the Worlds had become especially timely”. (2) For the purposes of this discussion, it is accepted that films such as The Thing from Another World (Dir: Christian Nyby, 1951), The Day the Earth Stood Still (Dir: Robert Wise, 1951), This Island Earth (Dir: Joseph M. Newman, 1955), Invasion of the Body Snatchers (Dir: Don Siegel, 1956), The Monolith Monsters (Dir: John Sherwood, 1957), to cite some of the examples considered, are not auteurist artifacts. -
Ficção Científica Em Atmosfera Rarefeita
LIMITE DE ALERTA! FICÇÃO CIENTÍFICA EM ATMOSFERA RAREFEITA Uma introdução ao estudo da FC no cinema brasileiro e em algumas cinematografias off-Hollywood i LIMITE DE ALERTA! FICÇÃO CIENTÍFICA EM ATMOSFERA RAREFEITA: UMA INTRODUÇÃO AO ESTUDO DA FC NO CINEMA BRASILEIRO E EM ALGUMAS CINEMATOGRAFIAS OFF-HOLLYWOOD Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas, para obtenção do título de Doutor em Multimeios Orientador: Prof. Dr. José Mário Ortiz Ramos CAMPINAS 2007 ii FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Suppia, Alfredo Luiz Paes de Oliveira. Su76L Limite de Alerta! Ficção Científica em Atmosfera Rarefeita: Uma introdução ao estudo da FC no cinema brasileiro e em algumas cinematografias off- Hollywood / Alfredo Luiz Paes de Oliveira Suppia. – Campinas, SP: [s.n.], 2007. Orientador: José Mário Ortiz Ramos. Tese(doutorado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Cinema brasileiro 2. ficção científica 3. Critica cinematográfica 4. Cinema e historia. I. Ramos, José Mário Ortiz. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em ingles: “Alert Limit! Science Fiction in Rarefied Atmosphere: An introduction to the study of SF in the Brazilian cinema and some off- Hollywood filmographies” Palavras-chave em inglês (Keywords): Cinema brasileiro, Science fiction.Moving-pictures criticism. Moving-pictures and history. Titulação: Doutor em Multimeios Banca examinadora: Prof. Dr. José Mário Ortiz Ramos Profa. Dra. Bernadette Lyra Profa. Dra. Rosana de Lima Soares Prof. Dr. Eduardo Morettin Prof. Dr. Francisco Elinaldo Teixeira Data da Defesa: 29-08-2007 Programa de Pós-Graduação: Multimeios iii Dedico esta tese a dois grandes amigos que, infelizmente, tiveram de se separar de mim, momentaneamente, enquanto trilhávamos o mesmo caminho. -
1950S Science Fiction Film Checklist
The 1950s Science Fiction Film Collection As Title Copy Notes The Abominable Snowman of the Himalayas 1957 A & C Go To Mars 1953 A & C Meet Dr. Jekyll & Mr. Hyde 1953 A & C Meet The Invisible Man 1951 Attack of the Puppet People 1958 Attack of the 50 Foot Woman 1958 Attack of the Crab Monsters 1957 The Atomic Man 1956 The Angry Red Planet 1959 The Alligator People 1959 The Amazing Colossal Man 1957 The Astounding She-Monster 1958 The Atomic Kid 1954 http://thethunderchild.com/ The 1950s Science Fiction Film Collection Bs Title Released Notes Beast From Haunted Cave 1959 The Beast From 20,000 Fathoms 1953 The Beast of Hollow Mountain 1956 Beast With A Million Eyes 1956 Beginning of the End 1957 Bela Lugosi Meets A Brooklyn Gorilla 1952 The Black Scorpion 1957 The Black Sleep 1956 The Blob 1958 Blood of the Vampire 1958 The Bowery Boys Meet The Monsters 1954 The Brain Eaters 1958 The Brain From Planet Arous 1958 Bride of the Monster 1956 http://thethunderchild.com/ The 1950s Science Fiction Film Collection Cs Title Released Notes Captive Women 1952 Carolina Cannonball 1955 Cat-Women of the Moon 1953 The Colossus of New York 1958 Conquest of Space 1955 The Cosmic Man 1959 The Cosmic Monster 1958 The Creature From the Black Lagoon 1954 The Creature Walks Among Us 1956 Creature With the Atom Brain 1955 The Creeping Unknown 1956 The Crimson Pirate 1952 The Crawling Eye 1958 The Curse of Frankenstein 1957 Curse of the Faceless Man 1958 The Cyclops 1957 http://thethunderchild.com/ The 1950s Science Fiction Film Collection Ds Title Released Notes The Day The Earth Stood Still (1951) The Day The World Ended 1956 The Deadly Mantis 1957 Destination Moon (1950) Devil Girl From Mars 1955 The Diamond Wizard 1954 Donovan’s Brain 1953 E Title Released Notes Earth vs. -
The Evolution of VFX-Intensive Filmmaking in 20Th Century Hollywood Cinema: an Historical Overview
Venkatasawmy VFX-Intensive Filmmaking: An Historical Overview The Evolution of VFX-Intensive Filmmaking in 20th Century Hollywood Cinema: An Historical Overview Rama Venkatasawmy University of Newcastle, Australia ABSTRACT The 20th century evolution of VFX-intensive filmmaking in Hollywood cinema is irremediably linked to the industry’s overall growth since the establishment of its principal movie production studios. Originally of more relevance to B-movies, double- bill ‘fillers’ and exploitation serials during the studio system era, VFX-intensive filmmaking progressively became a normalised, standard aspect of A-movie production practices in the Hollywood cinema industry. Chronicling the evolution of VFX-intensive Hollywood filmmaking constitutes a narrative that is intertwined with a number of other complex narratives in the growth of Hollywood cinema as an industry: the constant updating of movie business practices and concepts (vertical integration, conglomeration, mergers and synergy); the influential practices of certain studios, producers and filmmakers; and the convergence of corporate media, information technology and entertainment, with digital becoming the standard technological platform across the entire Hollywood cinema industry by the end of the 1990s. Keywords: Film history, filmmaking, Hollywood cinema, Hollywood industry, visual effects By the beginning of the second decade of the 21st century, motion pictures like Avatar (2009),The Adventures of Tintin (2011) and Hugo (2011) have become significant in the 1 history of -
The Cat and the Canary (1927 Film
The Cat and the Canary (1927 film The Cat and the Canary (1927 film) The Cat and the Canary is a 1927 American silent horror film adaptation of John Willard's 1922 black comedy play of the same name. Directed by German The Cat and the Canary Expressionist filmmaker Paul Leni, the film stars Laura La Plante as Annabelle West, Forrest Stanley as Charles "Charlie" Wilder, and Creighton Hale as Paul Jones. The plot revolves around the death of Cyrus West, who is Annabelle, Charlie, and Paul's uncle, and the reading of his will 20 years later. Annabelle inherits her uncle's fortune, but when she and her family spend the night in his haunted mansion they are stalked by a mysterious figure. Meanwhile, a lunatic known as "the Cat" escapes from an asylum and hides in the mansion. The film is part of a genre of comedy horror films inspired by 1920s Broadway stage plays. Paul Leni's adaptation of Willard's play blended expressionism with humor, a style Leni was notable for and critics recognized as unique. Leni's style of directing made The Cat and the Canary influential in the "old dark house" genre of films popular from the 1930s through the 1950s. The film was one of Universal's early horror productions and is considered "the cornerstone of Universal's school of horror."[1] The play has been filmed five other times, with the most notable in 1939 starring comedic actor Bob Hope original 1927 window card and Paulette Goddard. Directed by Paul Leni Paul Kohner Plot Produced by Written by Walter Anthony (titles) In a decaying mansion overlooking the Hudson River, millionaire Cyrus West Screenplay by Alfred A.