DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations THE HORROR OF "THIS PRETTY WORLD": PROGRESSIVE PESSIMISM IN VAL LEWTON'S FILMS AND NOVELS CAMERON MONEO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN CINEMA AND MEDIA STUDIES YORK UNIVERSITY, TORONTO, ONTARIO SEPTEMBER 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-53736-7 Our file Notre reference ISBN: 978-0-494-53736-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada THE HORROR OF "THIS PRETTY WORLD": PROGRESSIVE PESSIMISM IN VAL LEWTON'S FILMS AND NOVELS By CAMERON MONEO A thesis submitted to the Faculty of Graduate Studies of York University in partial fulfillment of the requirements for the degree of MASTER OF ARTS ©2009 Permission has been granted to: a) YORK UNIVERSITY LIBRARIES to lend or sell copies of this thesis in paper, microform or electronic formats, and b) LIBRARY AND ARCHIVES CANADA to reproduce, lend, distribute, or sell copies of this thesis anywhere in the world in microform, paper or electronic formats and to authorize or procure the reproduction, loan, distribution or sale of copies of this thesis anywhere in the world in microform, paper or electronic formats. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author's written permission. (iv) ABSTRACT This thesis addresses the political connotations in the work of Hollywood producer Val Lewton. Operating from 1942-1946 at RKO Pictures, Lewton's "B" horror unit specialized in bringing an understated technique and a probing social consciousness to bear on low-budget genre filmmaking. This thesis primarily concerns the latter distinction, arguing that the Lewton horror cycle evidences a politically progressive sensibility in its complex treatment of issues of race, gender, sexuality, and class. Tracing the context and implications of this progressiveness, this thesis focuses on Val Lewton's importance in the political atmosphere of 1940s genre filmmaking in Hollywood. This thesis also examines the social content of Lewton's pre-RKO, Depression-era pulp novels alongside his films, revealing the political strands connecting his work as a whole. Finally, this thesis unpacks Lewton's films through the politically-oriented horror theory proposed by Robin Wood, arguing that Lewton's social conception of "horror" is both progressive and markedly pessimistic. (v) ACKNOWLEDGMENTS I would like to thank Suzie Young for her gracious support, confidence, and guidance. My heartfelt thanks also go out to Michael Zryd, Scott Forsyth, Evan Cameron, Pat McDermott, Art Redding, Eriona Voci, Maria Basualdo, Stephen Broomer, Fabiola Caraza, Jeff Moneo, Samuel Lopka, Eli Horwatt, Scott MacKenzie, Geoff Macnaughton, Malcolm D. Morton, Coral Aiken, Tina Benigno, and Jamie McKay. Finally, I would like to thank my parents, brothers, and sisters. This project was funded in part by a Joseph Armand Bombardier Canada Graduate Scholarship from the Social Sciences and Humanities Research Council (SSHRC). (vi) TABLE OF CONTENTS Abstract iv Acknowledgments v Chapter 1: Val Lewton and the Importance of "B" Horror 1 Chapter 2: Social Topics in Lewton's Pulp Novels .41 Chapter 3: Patriarchal Horror and Progressive Suicide: The Seventh Victim 76 Appendix A: List of Lewton's Productions atRKO 108 Appendix B: List of Lewton's Pulp Novels 109 Works Cited 110 Filmography 115 1 CHAPTER 1 Val Lewton and the Importance of "B" Horror For many Hollywood radicals and progressives of the so-called Golden Age, genre filmmaking was the ideal vessel in which to smuggle new ideas into an industry founded on a tradition of sticking to the (ideological) formula, with a low tolerance for deviation. The forties in particular, while being a rather fertile period for the Left in Hollywood, proved—if only in retrospect—to be an ill-fated time to be too politically outspoken, to which everything from William Randolph Hearst's embargo on Citizen Kane (1941) to the HUAC hearings attests. James Naremore writes that "when we take into account all the governmental and semiofficial organizations of the Left and the Right who were involved in making judgments about film, the period between 1941 and 1955 was probably the most regulated and scrutinized era in the history of American entertainment" (105). Many members of the Left therefore took up shop in the "lower" genres, a strategy which could be viewed as an even more effective way of changing the complexion of Hollywood film over time and by degrees. "[Precisely because the attention of censors and conservative political 1 When media magnate William Randolph Hearst caught wind of rumours that Orson Welles' film Citizen Kane was a loose—but nonetheless unflattering—account of his own life and affairs, Hearst blackballed Kane and Welles from receiving publicity through any of the channels in his vast media empire. For more on this embargo, see John Evangelist Walsh's book Walking Shadows: Orson Welles, William Randolph Hearst, and Citizen Kane (U of Wisconsin P, 2004). 2 In October 1947, the House Committee on Un-American Activities (HUAC), headed up by J. Parnell Thomas, began hearings to root out Communist Party members, sympathizers, and propagandizers in the American film industry, calling several witnesses—"friendly" and "unfriendly"—from Hollywood to provide testimony on "subversive" activity within the industry. With the compliance of the major film studios, HUAC assured that "[association with radical causes or radical organizations could lead to dismissal, blacklisting, or even, as the case of the Hollywood Ten [a group of'unfriendly' witnesses cited in contempt of court for refusing testimony] illustrated, imprisonment" (Krutnik et al. 5). 2 critics focused elsewhere, artists on the bottom rungs of the genres often had a freer hand than their more exalted counterparts" (Buhle and Wagner 111-2). Slapstick comedies, musicals, westerns and melodramas of the forties, if implicitly, were just as likely to bear the stamp of the Left as overtly political war dramas and "message films." The films noir (as they retrospectively came to be known) directed in the 1940s by such noted Leftists as Edgar G. Ulmer and the soon-blacklisted Edward Dmytryk gave proof to a "subtle anticapitalist message that seem[ed] to be inscribed in the genre as a whole" (Booker xi).3 Jean-Loup Bourget asserts that the freedom of Hollywood directors is not measured by what they can openly do within the Hollywood system, but rather by what they can imply about American society in general and about the Hollywood system in particular ... The implicit subtext of genre films makes it possible for the director to ask the inevitable (but unanswerable) question: Must American society be like this? Must the Hollywood system function like this? (58) Taking up and often transforming the forms and conventions of pre-established genres (film noir itself joined themes and styles from the gangster film, the detective film, the horror film), Leftists fashioned critiques of the Establishment that both projected outward to the social sphere and fell self-reflexively on Hollywood itself. An attitude of questioning and contestation imbued the genres; the significance of this 3 In an essay on Ulmer's 1945 B-noir Detour, Andrew Britton explicates the director's use of the metaphor of the road "not [as] a refuge for exiles from a culture in which America's ideals have been degraded; [but as] a place where the real logic of advanced capitalist civil society is acted out by characters who have completely internalized its values, and whose interaction exemplifies the grotesque deformation of all human relationships by the principles of the market"; Britton argues Detour's main characters are "isolated vagabonds whose lives are dedicated to the pursuit of private goals which they set themselves ad hoc, in the light of their own immediate interests, and who collide with one anther in a moral vacuum where human contacts are purely contingent, practical social ties have ceased to exist, and other people appear as mere use values to be exploited at will" ("Detour," 204). 3 attitude continues to bear out as more genre films and practitioners are reappraised from this socially and politically charged era.
Load more

Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Cecil B. Demille's Greatest Authenticity Lapse?
    Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate
    [Show full text]
  • The Horror Film Series
    Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors.
    [Show full text]
  • Probablemente El Diablo: El Terror Elíptico De La Séptima Víctima
    PROBABLEMENTE EL DIABLO: EL TERROR ELÍPTICO DE LA SÉPTIMA VÍCTIMA Francisco García Gómez Universidad de Málaga RESUMEN La séptima víctima, la primera película dirigida por Mark Robson, constituye un magnífico ejemplo de la concepción del terror que tenía el productor Val Lewton. Su cuarto filme para la RKO, el primero no dirigido por Jacques Tourneur, pone de manifiesto que Lewton era el auténtico responsable de su ciclo fantástico. PALABRAS CLAVE: RKO, Val Lewton, Mark Robson, serie B, terror, satanismo, paladismo. ABSTRACT «Probably the Devil: The Elliptical Terror in The Seventh Victim». The Seventh Victim, first film directed by Mark Robson, is a magnificent example of the producer Val Lewton’s terror concept. His fourth RKO film, the first without Jacques Tourneur, reveals that Lewton was the genuine responsible of his fantastic cycle. KEY WORDS : RKO, Val Lewton, Mark Robson, B Film, terror, satanism, paladism. 163 Una película a redescubrir y reivindicar, ése es el caso de La séptima víctima (The Seventh Victim, 1943), la cuarta del ciclo de nueve cintas de terror de serie B producidas por Val Lewton en la RKO entre 1942 y 19461. Dirigida por Mark Robson en su debut como realizador, fue además la primera cuya dirección no corrió a cargo de Jacques Tourneur, tras La mujer pantera (Cat People, 1942), Yo anduve con un zombi (I Walked with a Zombie, 1943) y El hombre leopardo (The Leopard Man, 1943). Precisamente a consecuencia de los grandes éxitos de público obtenidos con estas tres, el estudio decidió separar al tándem Lewton-Tourneur, convencido de que rendirían el doble por separado, poniendo en seguida al francés al frente de mayores presupuestos.
    [Show full text]
  • PETER LAWFORD (Peter Sydney Ernest Aylen) Filmografia Essenziale Dal 1952 Al 1984
    PETER LAWFORD (Peter Sydney Ernest Aylen) Filmografia essenziale dal 1942 al 1951 ANNO TITOLO TITOLO ORIGINALE REGIA VOTO 1942 UN AMERICANO A ETON A YANK AT ETON NORMAN TAUROG 7 1942 PRIGIONIERI DEL PASSATO RANDOM HARVEST MERVYN LE ROY 7,5 1942 LA SIGNORA MINIVER MRS. MINIVER WILLIAM WYLER 8 1942 SPARVIERI DI FUOCO THUNDER BIRDS WILLIAM A. WELLMAN 6 1943 AL DI SOPRA DI OGNI SOSPETTO ABOVE SUSPICION RICHARD THORPE 7 1943 IL CARNEVALE DELLA VITA FLESH AND FANTASY JULIEN DUVIVIER 7,5 1943 CORVETTA K-225 CORVETTE K-225 R. ROSSEN • H. HAWKS 7,5 1943 JOKO L' AUSTRALIANO THE MAN FROM DOWN UNDER ROBERT Z. LEONARD 7 1943 NON TI POSSO DIMENTICARE THE SKY'S THE LIMIT EDWARD H. GRIFFITH 6,5 1943 SAHARA IDEM ZOLTAN KORDA 7,5 1943 IL SEGRETO DEL GOLFO ASSIGNMENT IN BRITTANY JACK CONWAY 6,5 1943 IL SERGENTE IMMORTALE IMMORTAL SERGEANT JOHN M. STAHL 7 1943 SHERLOCK HOLMES DI FRONTE ALLA MORTE SHERLOCK HOLMES FACES DEATH ROY W. NEILL 7 1944 LE BIANCHE SCOGLIERE DI DOVER THE WHITE CLIFFS OF DOVER CLARENCE BROWN 7,5 1944 IL PILOTA DEL MISSISSIPPI THE ADVENTURES OF MARK TWAIN IRVING RAPPER 7 1944 LA SIGNORA PARKINGTON MRS. PARKINGTON TAY GARNETT 7,5 1944 LO SPETTRO DI CANTERVILLE THE CANTERVILLE GHOST JULES DASSIN 7,5 1945 IL FIGLIO DI LASSIE SON OF LASSIE S. SYLVAN SIMON 6,5 1945 INTERMEZZO MATRIMONIALE PERFECT STRANGERS ALEXANDER KORDA 7 1945 IL RITRATTO DI DORIAN GRAY THE PICTURE OF DORIAN GRAY ALBERT LEWIN 8 1946 LE DUE SORELLE DI BOSTON TWO SISTERS FROM BOSTON HENRY KOSTER 7 1946 FRA LE TUE BRACCIA CLUNY BROWN ERNST LUBITSCH 8 1947 ACCADDE A BROOKLYN
    [Show full text]
  • (Toledo, Ohio), 1949-10-07
    Friday, October 7,1949 TOLEDO UNION JOURNAL Page Five Paralyzed From The Waist Down wifoii&iMfai The Bob Toppings Marie Wison On Nationwide Tour For “My Friend Irma” HOLLYWOOD — Marie Wil­ son, starred in “My Friend Ir- Ma.” Hall Wallis production for Paramount, departed recently on E^SCRE 0 a tour of ten key cities in con­ nection with important pre-re­ BY INEZ GERHARD fa. lease engagements of the film. Now that it’s over, Robert The tour will last four weeks with Miss Wilson returning to Lewis can draw a long breath Hollywood each Monday for the aud look back with pride on the CBS “My Friend Irma”, broad­ terrific job that he did from cast. August 1 to October 1. He took Miss Wilson recently did two weeks of presc~‘l r —earances over for Arthur Godfrey five in New York, « g pi ed to be morning shows a week on CBS one of the most sought-after and one television show, lasting stars ever to visit the big city. an hour, on Wednesday eve­ Her present tour is in keeping with Paramount’s public rela­ nings. G o d f r e y’s popularity tions policy of sending top per­ made him a difficult man to fill sonalities on tour so that the * in for, and Lewis was bound to marimum number of people be a target for a lot of crticism, have the opportunity of seeing, f '' hearing and reading about the just because he wasn’t Arthur. personalities and the picture Now they’re saying that there they will appear in.
    [Show full text]
  • Annual Report 2015 It Is My Pleasure to Welcome You to the American Liver Foundation’S 2015 Annual Report
    VOICES OF LIVER DISEASE I have a VOICE We are stronger LET’S SPREAD TOGETHER THE WORD American Liver Foundation | Annual Report 2015 It is my pleasure to welcome you to the American Liver Foundation’s 2015 annual report. This small volume documents a year of progress in challenging liver disease’s position as one of the top 12 leading causes of death for Americans ages 25 to 64. This past year, we raised our voices every day. In 2015, the American Liver Foundation launched our federal Advocacy Day in Washington, DC, a new annual initiative that will give us a greater voice on Capitol Hill. On behalf of 30 million Americans living with liver disease, our staff joined by members of our National Patient Advisory Committee (NPAC) made the case for increased allocations for liver research and a more pro-active public health response for testing and treatment for liver disease. Our media-trained and well-informed NPAC members are at the heart of the Foundation’s awareness raising activities. By courageously and generously sharing their stories, these men and women put a human face on liver disease, and give voice to the needs and concerns of liver patients everywhere. Until very recently, the liver was rarely featured in the news outside of celebrity illnesses related to liver failure or hepatitis C. This is changing and for the better, and ALF’s persistence and presence has played an important role in this transition. In 2015, rarely did a week go by without a mention of liver wellness or liver disease in the mainstream media as our aggressive communications strategy leveraged media opportunities like Veterans Day, Liver Awareness Month and local events to drive coverage.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • List of Surveillance Feature Films
    Surveillance Feature Films compiled by Dietmar Kammerer, Berlin Sources of plot descriptions and details: allmovie.com; imdb.com 1984 (Nineteen Eighty-Four) UK 1956 dir: Michael Anderson. George Orwell's novel of a totalitarian future society in which a man whose daily work is rewriting history tries to rebel by falling in love. keywords: literary adaptation; dystopic future http://www.allmovie.com/work/1984-104070 http://www.imdb.com/title/tt0048918/ 1984 (Nineteen Eighty-Four) UK 1984 dir: Michael Radford Second adaptation of George Orwell's novel. keywords: literary adaptation; dystopic future http://www.allmovie.com/work/1984-91 http://www.imdb.com/title/tt0087803/ 23 [23 – Nichts ist wie es scheint] Germany 1998 dir: Hans-Christian Schmid The movie's plot is based on the true story of a group of young computer hackers from Hannover, Germany. In the late 1980s the orphaned Karl Koch invests his heritage in a flat and a home computer. At first he dials up to bulletin boards to discuss conspiracy theories inspired by his favorite novel, R.A. Wilson's "Illuminatus", but soon he and his friend David start breaking into government and military computers. Pepe, one of Karl's rather criminal acquaintances senses that there is money in computer cracking - he travels to east Berlin and tries to contact the KGB. http://www.imdb.com/title/tt0126765/ http://www.allmovie.com/work/23-168222 keywords: conspiracy; internet; true story The Anderson Tapes USA 1971 dir: Sidney Lumet This breathlessly paced high-tech thriller stars Sean Connery as Anderson, a career criminal who's just been released from his latest prison term.
    [Show full text]
  • War and Cinema
    Theatres of Representation Discourses of War and Cinema Daniel Binns SID: 16123117 ! ! ! ! Doctor of Philosophy, 2013 University of Western Sydney Table of Contents Acknowledgements i. Dedication ii. Abstract iii. 1. Introduction – War and Cinema 1 2. Survey of the Field & Analytic Narrative 23 3. For Glory: World Wars I and II 58 4. Fear, Frustration, Paranoia: Vietnam 103 5. Live from the Front Line: Conflict in the Middle East 148 6. Extended Discourses of War: Video Games & Comic Books 192 7. Conclusion: Cycles of Violence, Repeat Performances 225 Sources 238 Appendix: Sample Film Analysis 254 Acknowledgements This thesis has felt, at times, like a battle. Now that the battle is over, I must take some time to thank my comrades-in-arms, without whom none of what you hold would have been possible. To the various people with whom I had personal correspondence or conversation during the course of this research, thank you for your time and expertise. These fine souls include, but are not limited to, Bill Nichols, Bruce Isaacs, Richard Smith, David Burchell, David Axe, Brendan Keogh, Elizabeth Roberts, and Hunter Cordaiy. Thanks to Jonathan Foye, and JT Velikovsky, for casting an objective eye over the piece in its final stages – and for your validation. To the employers who have graciously worked around my research commitments, continuing to further my experience in the film industry and academia, thank you. To my supervisors – Dr. Paul Ryder and Dr. Peter Dallow – your patience, commitment, wisdom, and good humour have been invaluable. It is needless to say that this document would not exist without you both.
    [Show full text]
  • Larry Cohen, Drehbuchautor Und Regisseur
    Meister des B-Films : Larry Cohen, Drehbuchautor und Regisseur Autor(en): Arnold, Frank Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 55 (2013) Heft 331 PDF erstellt am: 23.09.2021 Persistenter Link: http://doi.org/10.5169/seals-864124 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch FILMBULLETIN 4.13 TRIBUTE DES B-FILMS 1 I Larry Cohen, Drehbuchautor und Regisseur In François Truffauts la sirène du Mississippi Wer ist Larry Cohen? Zunächst einmal ein Titeln und Werbekampagnen herausgebrachte ter anderem in bone). Auch Altstars wie Sylvia hatte nichts dagegen, ich lud ihn zu den kommen Catherine Deneuve und Jean-Paul Filmemacher, dessen ungeheure Produktivität - Film knüpft ähnlich wie andere Arbeiten von Sidney (god told me to) oder Broderick Crawford Dreharbeiten ein.
    [Show full text]
  • Film Books Food Drink C E D V O N T C O
    A r t F w i w l w m . c B o o r n o e k r s h o F u o s e o . d o r d g r i n k Jan Feb Mar Apr May Jun Jul Aug Sep OCT NOV DEC Cornerhouse 70 Oxford Street Manchester M1 5NH Box Office 0161 200 1500 HIGHLIGHTS Information 0161 228 7621 Book online cornerhouse.org INFORMATION BOOKING Cornerhouse is Manchester’s Book online centre for contemporary visual cornerhouse.org art and independent film. (no booking fee) Cornerhouse also has a By phone publications division – an 0161 200 1500 international distribution service Booking line is open from for visual arts books and Mon – Sun: 12:00 – 20:00 catalogues. In person OPENING HOURS Our Box Office team are available to take bookings from Galleries Mon – Sun: 12:00 – 20:00 Mon: closed Tue - Sat: 12:00 - 20:00 SUPPORT US Sun: 12:00 - 18:00 As a registered charity, we depend Bookshop on the support and generosity of Mon – Sun: 12:00 - 20:00 supporters and partners to deliver our unique programme of Bar original contemporary visual art, Mon – Thu: 10:00 - 23:00 independent film and engagement Fri - Sat: 10:00 - 00:00 activities. To make a donation Sun: 11:00 - 22:30 or find out how to support our work visit Café cornerhouse.org/support-us Mon – Thu: 11:00 - 23:00 Fri - Sat: 11:00 - 00:00 JOIN THE CONVERSATION Sun: 11:00 - 22:30 Box Office like our page Mon – Sun: 12:00 - 20:00 Festive opening times @CornerhouseMCR Tue 24 Dec, Wed 25 Dec, Thu 26 Dec, Tue 31 Dec and Wed 1 Jan: closed.
    [Show full text]