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Notes

INTRODUCfION

1. C. Higham, Hollywood Cameramen (London: Thames and Hudson, 1970), p. 10. 2. Ibid., p. 11. 3. A. Sarris, The American Cinema (New York: E. P. Dutton, 1968), p. 31. 4. L. Maltin, The Art of the Cinematographer (New York: Dover, 1978), p. 12. 5. Ibid., p. 17. 6. Ibid., p. 19. 7. Ibid., p. 26. 8. T. Rainsberger,lames Wong Howe, Cinematographer (London: Tantivy Press, 1981), p.61. 9. Ibid., p. 162. 10. R. Williams, Television: Technology and Cultural Form (Glasgow: Fontana, 1974), p. 130. 11. P. Ogle, 'Technological and Aesthetic Influences on the Development of Cinematography in the United States', in B. Nichols (ed.), Movies and Methods, Vol. 2 (London: University of Press, 1985), p. 64. 12. A. Bazin, What is Cinema?, Vol. 1 (London: University of California Press, 1967), pp. 21 and 30. 13. Ibid., p. 21. 14. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), p. 244. 15. Ibid., p. 7. 16. Ibid., p. 6. 17. N. Burch, Life to Those Shadows (London: British Film Institute, 1990), pp. 260-1. 18. N. Burch, In and Out of Synch (Aldershot: Scolar Press, 1991), p. 165.

2 IDEOLOGY AND CINEMATOGRAPHIC STYLE

1. The following section is based on Chapter 1 of the author's Ideology (London: Batsford, 1992) where the defmition is developed more fully. The three texts men• tioned earlier are: J.-L. Comolli and J. Narboni, 'Cinema/ldeology/Criticism,' in B. Nichols (ed.), Movies and Methods (London: University of California Press, 1976), pp. 22-30; P. Biskind, Seeing Is Believing (London: Pluto Press, 1984); B. Nichols, Ideology and the Image (Bloomington: Indiana University Press, 1981). 2. J. Collins, Uncommon Cultures (London: Routledge, 1989), p. xiv. 3. The original arguments can be found in N. Abercrombie, S. Hill and B. S. Turner, The Dominant Ideology Thesis (London: Allen and Unwin, 1980) with the updated version in N. Abercrombie, S. Hill and B. S. Turner (eds), Dominant Ideologies (London: Unwin Hyman, 1990). 4. T. Eagleton, Ideology: An Introduction (London: Verso, 1991), p. 45. 5. J. B. Thompson, Ideology and Modern Culture (London: Polity Press, 1990), p. 56. 6. Ibid., p. 57.

154 Notes 155

7. See Chapter 8 of the author's Ideology for an example of a general ideological analysis of a recent film (Raging Bull, d. Martin Scorsese, 1980). 8. R. Barthes, S/Z (New York: Hill and Wang, 1974), p. 20. 9. J. B. Thompson, op. cit., p. 275. 10. K. Silverman, The Subject of Semiotics (Oxford: Oxford University Press, 1983), p.270. 11. R. Barthes, op. cit., p. 100. 12. F. Basten, Glorious Technicolor (London: Thomas Yoseloff, 1980), pp. 170-1. 13. C. Metz, Language and Cinema (The Hague: Mouton, 1974), pp. 28-9. 14. Ibid., p. 62. 15. Ibid., p. 63. 16. Ibid., pp. 75-6. 17. Ibid., p. 86. 18. S. Russell, Semiotics and Lighting (Ann Arbor: UMI Research Press, 1981), pp.44-5. 19. B. Salt, Film Style and Technology (London: Starword, 1983), pp. 389-91. 20. Ibid., p. 243. 21. J. Paine, The Simplification of American Life (New York: Amo Press, 1977), pp. 210-11. 22. Ibid., p. 16. 23. S. Neale, Genre (London: British Film Institute, 1980), p. 55. 24. S. Heath, Questions of Cinema (London: Macmillan, 1981), pp. 19-75. 25. D. Bordwell, Narration in the Fiction Film (London: Methuen, 1985), p. 25. 26. J. Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 36. 27. E. Branigan, Point of View in the Cinema (Berlin: Mouton, 1984), p. 103.

3 FROM SILENT TO SOUND: ALL QUIET ON THE WESTERN FRONT

1. D. Gomery, The Hollywood Studio System (London: Macmillan, 1986), p. 150. 2. C. R. Barker and R. W. Last, Erich Maria Remarque (London: Oswald Wolff, 1979), pp. 15 and 165. 3. Ibid., pp. 19-20. 4. Details of the production history in the following paragraph are taken from C. Denton, K. Canham and T. Thomas, The Hollywood Professionals, Vol. 2: , , (London: Tantivy Press, 1974). 5. A. Estrin, The Hollywood Professionals, Vol. 6: Capra, Cukor, Brown (London: Tantivy Press, 1980), p. 97. 6. Slide's claim can be found in his article 'All Quiet on the Western Front,' in C. Lyon (ed.), The Macmillan Dictionary ofFilms and Filmmakers, Vol. 1 (London: Macmillan, 1984), p. 22. The information on Broadway comes from Barry Salt's Film Style and Technology (London: Starword, 1983), p. 228. 7. S. Eisenstein, Film Form (London: Harcourt Brace Jovanovich, 1949), p. 75. 8. C. Denton et aI., op. cit., p. 76. 9. K. Thiede, 'Lewis Milestone: a Film Checklist', in J. Tuska (ed.), Close Up: the Contract Director (Metuchen: Scarecrow Press, 1976), p. 347. 10. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. 254. 11. Details of and New York Times rankings are taken from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 12. C. Denton et al., op. cit., pp. 79-80. 156 Notes

13. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon- don: Routledge and Kegan Paul, 1985), pp. 228-9. 14. Ibid., p. 229. 15. Ibid. 16. B. Salt, op. cit., pp. 222-3. 17. Ibid., p. 265. 18. Ibid.

4 A CRISIS OF EXPLANATION: THE EARLY THIRTIES

1. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975), pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. W. E. Leuchtenburg, The Perils of Prosperity. 1914-32 (London: University of Chicago Press, 1958), p. 261. 3. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 457. 4. Ibid., p. 467. 5. Ibid. 6. J. Major, The New Deal (London: Longmans, 1968), pp. 47-8. 7. M. A. Jones, op. cit., p. 456. 8. Ibid., pp. 455-6. 9. Ibid., p. 456. 10. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon• don: Routledge and Kegan Paul, 1985), pp. 314-15. 11. B. Salt, Film Style and Technology (London: Starword, 1983), p. 265. 12. D. Bordwell et al., op. cit., p. 343.

5 QUESTIONING SUBJECTIVITY: DR JEKYLL AND MR HYDE

1. Unless otherwise noted, all details of Paramount's history are taken from Chapter 2 of Douglas Gomery's The Hollywood Studio System (London: Macmillan, 1986). 2. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Routledge and Kegan Paul, 1985), pp. 320-2. 3. Ibid., p. 328. 4. H. T. Lewis, The Motion Picture Industry (New York: Jerome S. Ozer, 1971), p. 30. 5. D. Bordwell et al., op. cit., p. 328. 6. H. T. Lewis, op. cit., p. 352. 7. B. Schulberg, Moving Pictures (Harmondsworth: Penguin, 1984), p. 359. 8. Mamoulian's history taken from Tom Milne's (London: Thames and Hudson, 1969). 9. J. Calder, RLS: a Life Story (London: Hamish Hamilton, 1980), p. 230. 10. S. S. Prawer, Caligari's Children (Oxford: Oxford University Press, 1980), pp.86-7. 11. C. Steinberg, Reel Facts (Harmondsworth: Penguin, 1981). 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), pp. 99 and llO. 13. H. T. Lewis, op. cit., p. 388. 14. S. S. Prawer, op. cit., p. 86. Notes 157

15. Quotations from The Strange Case of Dr Jekyll and Mr Hyde are taken from R. L. Stevenson, The Collected Shorter Fiction, ed. by Peter Stone ley (London: Robinson, 1991), pp. 439-88. 16. D. Robinson, 'Painting the Leaves Black', Sight and Sound, 30, 3 (Summer, 1961), p.125. 17. B. Salt, Film Style and Technology (London: Starword, 1983). pp. 261 and 282. 18. Ibid., p. 245. 19. T. Milne, op. cit., p. 45; P. Lehman, 'Looking at Ivy Looking at Us Looking at Her', Wide Angle, 5, 3 (1983), pp. 59~3; S. S. Prawer. op. cit., p. 91; D. Bordwell. Narration in the Fiction Film (London: Methuen, 1985) p. 350. footnote 26. 20. D. Bordwell, ibid. 21. D. Bordwell, et al., op. cit., p. 305. 22. Ibid., p. 304. 23. Ibid., p. 228. 24. Ibid., p. 10. 25. Ibid., p. 229. 26. R. Dyer, Stars (London: British Film Institute, 1979), p. 30.

6 THE NEW DEAL IN HOLLYWOOD, 1933-35

I. Statistics are taken from the US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975) pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983), p. 461. 3. D. K. Adams, Franklin D. Roosevelt and the New Deal (London: The Historical Association, 1979), p. 25. Details concerning the New Deal administration in the following paragraphs are taken from M. A. Jones's The Limits of Liberty and William Miller's A New History of the United States (London: Paladin. 1970). 4. M. A. Jones, op. cit., p. 464. 5. Ibid., p. 474. 6. Ibid., p. 475. 7. D. K. Adams, op. cit., p. 8. 8. S. Terkel, Hard Times (London: Allen Lane, 1970), p. 135. 9. Ibid., p. 193. 10. M. A. Jones, op. cit., p. 462. II. Details of the Payne Fund studies are taken from Garth Jowett's Film: the Democratic Art (Boston: Little, Brown and Company, 1976), pp. 220 and 230-1. 12. H. J. Forman, Our Movie Made Children (New York: Macmillan, 1933), p. vii. 13. G. Jowett, op. cit., p. 226. 14. H. J. Forman, op. cit., p. 272. 15. R. Moley, Are We Movie Made? (New York: Macy-Masius, 1938), pp. vii and viii. 16. Ibid., p. 61. 17. Ibid., p. 63. 18. M. Quigley, Decency in Motion Pictures (New York: Macmillan, 1937), p. 13. 19. Ibid., p. 100. 20. R. Moley, The Hays Office (Indianapolis: Bobbs-Merrill, 1945), p. 71. 21. All details concerning the history of the Production code in this paragraph are taken from Moley's The Hays Office. 22. R. Maltby, '''Baby Face" or How Joe Breen Made Barbara Stanwyck Atone for Causing the Wall Street Crash', Screen, 27, 2 (March-April, 1986), pp. 22--45. 158 Notes

23. N. Roddick, A New Deal in Entertainment (London: British Film Institute, 1983), p.39. 24. D. Bordwell, J. Staiger and K. Thompson, The Classical Hollywood Cinema (Lon• don: Routledge and Kegan Paul, 1985), p. 343. 25. Ibid. 26. Except where noted all details in the following paragraph are taken form Barry Salt's Film Style and Technology (London: Starword, 1983), pp. 256-7. 27. P. Ogle, 'Technological and Aesthetic Influences on the Development of Deep Focus Cinematography in the United States', in B. Nichols (ed.), Movies and Methods, Vol. 2 (London: University of California Press, 1985), p. 65. 28. D. Bordwell, et al., op. cit., p. 343. 29. P. Ogle, op. cit., p. 66. 30. Ibid. 31. F. E. Basten, Glorious Technicolor (London: Thomas Yoseloff, 1980), p. 47. 32. Ibid., pp. 170--1. 33. R. Fumento (ed.), 42nd Street (London: University of Wisconsin Press, 1980), pp. 21 and 39. 34. Details of awards taken from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 35. J. Baxter, Hollywood in the Thirties (London: Tantivy Press, 1968), p. 26. 36. T. Rainsberger,James Wong Howe, Cinematographer (London: Tantivy Press, 1981), p.174. 37. Ibid., p. 175. 38. Details of awards taken from Steinberg's Reel Facts. 39. T. Rainsberger, op. cit., p. 66. 40. Details of awards taken from Steinberg's Reel Facts.

7 SCREWBALL RESTRAINT: THE AWFUL TRUTH

I. Details on Columbia's history are taken from Chapter 8 of Douglas Gomery's The Hollywood Studio System (London: Macmillan, 1986). 2. L. A. Poague, The Hollywood Professionals, Vol. 7: Wilder and McCarey (London: Tantivy Press, 1980), p. 224. 3. Ibid., p. 308. 4. G. Weales, Canned Goods as Caviar (London: University of Chicago Press, 1985), p.140. 5. D. Gomery, op. cit., p. 167. 6. Details of awards and box office success from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 7. M. Thorp, America at (New York: Arno Press, 1970), p. 8. 8. Ibid., p. 10. 9. A. Bergman, We're in the Money (London: Harper and Row, 1972), p. 132. 10. K. Reader, The Cinema: a History (London: Hodder and Stoughton, 1979), p. 84. 11. Ibid., p. 71. 12. S. Cavell, Pursuits of Happiness (London: Harvard University Press, 1981), p. 1. 13. A. Bergman, op. cit., p. 133. 14. D. Byrge and R. M. Miller, The Screwball Comedy Films (London: St James Press, 1991), p. 4. 15. W. Gehring, Screwball Comedy (London: Greenwood Press, 1986), pp. 4--Q. 16. Ibid., p. 70. Notes 159

17. Ibid., p. 52. 18. A. Britton, : Comedy and Male Desire (Newcastle: Tyneside Cinema, 1983), p. 9. 19. L. Jacobs, The Rise of the American Film (New York: Teachers College Press, 1968), p.535.

8 THE RESTRAINED STYLE, 193~38

I. Details of studio history in the following section are taken from Douglas Gomery's The Hollywood Studio System (London: Macmillan, 1986) and from Tino Balio's (London: University of Wisconsin Press, 1976). 2. J. Baxter, The Cinema of (London: Zwemmer, 1971), p. 128. 3. J. Baxter, Hollywood in the Thirties (London: Tantivy Press, 1968), p. 26. 4. D. Gomery, op. cit., p. 70. 5. Ibid., p. 86. 6. Except where otherwise noted, production details are taken from R. Behlmer (ed.), The Adventures of Robin Hood (London: University of Wisconsin Press, 1979). 7. F. E. Basten, Glorious Technicolor (London: Thomas Yoseloff, 1980), p. 66. 8. Details of box-office success and awards from C. Steinberg'S Reel Facts (Harmondsworth: Penguin, 1981). 9. Details of awards as above. 10. F. S. Fitzgerald, Three Comrades (New York: Popular Library, 1978), p. 232. II. M. A. Doane, The Desire to Desire (London: Macmillan, 1988), p. 63. 12. I. R. Hark, 'The Visual Politics of The Adventures of Robin Hood', Journal of Popular Film, 5, 5 (1976), p. 3. 13. Ibid., p. 6. 14. A. Bergman, We're in the Money (London: Harper and Row, 1972), p. 169. 15. N. Roddick, A New Deal in Entertainment (London: British Film Institute, 1983), p. 122. 16. G. Jowett, Film: the Democratic Art (Boston: Little, Brown and Company, 1976), pp.282-3.

9 TOWARDS : DEAD END

1. Unless otherwise noted, all information on United Artists is taken from T. Balio's United Artists (London: University of Wisconsin Press, 1976). 2. As William Wyler notes in A. Madsen, William Wyler (London: W. H. Allen, 1974), p.126. 3. A. Madsen, op. cit., p. 155. 4. B. F. Dick, Hellman in Hollywood (London: Associated University Presses, 1982), p.50. 5. Ibid., p. 52. 6. A. Madsen, op. cit., pp. 155-6. 7. Ibid., p. 156. 8. M. A. Anderegg, William Wyler (Boston: Twayne, 1979), p. 63. 9. A. Madsen, op. cit., p. 156. 10. Details of awards and box-office success taken from C. Steinberg'S Reel Facts (Harmondsworth: Penguin, 1981). 160 Notes

II. A. Madsen, op. cit., p. 157. 12. B. Salt, Film Style and Technology (London: Starword, 1983), p. 282. 13. A. Madsen, op. cit., p. 137.

10 THE END OF THE DECADE

I. Statistics taken from US Bureau of the Census, Historical Statistics of the United States (Washington: Bureau of the Census, 1975), pp. 126 (unemployment), 224 (GNP), 226 (economic growth) and 400 (film statistics). 2. Except when otherwise noted, historical details are taken from M. A. Jones, The Limits of Liberty (Oxford: Oxford University Press, 1983). 3. W. Miller, A New History of the United States (London: Paladin, 1970), p. 344. 4. M. A. Jones, op. cit., p. 491. 5. P. Roffman and J. Purdy, The Hollywood Social Problem Film (Bloomington: Indi• ana University Press, 1981), p. 212. 6. N. Roddick, A New Deal in Entertainment (London: British Film Institute, 1983), p.67. 7. C. Clarens, Horror Movies (London: Seeker and Warburg, 1968), p. 124. 8. A. Bazin, What is Cinema? Vol. I (London: University of California Press, 1967), p.36. 9. P. Schrader, 'Notes on Film Noir', in B. K. Grant (ed.), Film Genre Reader (Austin: University of Texas Press, 1986), p. 171. 10. M. B. Haralovich, 'Sherlock Holmes: Genre and Industrial Practice', Journal of the University Film Association, 31, 2 (Spring 1979), pp. 53 and 57. II. R. Flamini, Scarlett, Rhett, and a Cast of Thousands (London: Andre Deutsch, 1976). All production details in the following paragraph are taken from this source. 12. Details of awards are taken from C. Steinberg's Reel Facts (Harmondsworth: Penguin, 1981). 13. R. Flamini, op. cit., p. 331. 14. Ibid., pp. 314 and 333. IS. Ibid., p. 272.

CONCLUSION

1. B. Lucich, 'The Lux Radio Theatre' in L. W. Lichty and M. C. Topping (eds), American Broadcasting (New York: Hastings House, 1975), p. 391. Select Bibliography

PART 1: IDEOLOGY AND FILM

Abercrombie, N., Hill, S. and Turner, B. S. (eds), Dominant Ideologies (London: Unwin Hyman, 1990). Barthes, R., S/Z (New York: Hill and Wang, 1974). Belsey, c., Critical Practice (London: Methuen, 1980). Biskind, P., Seeing Is Believing (London: Pluto Press, 1984). Cormack, M., Ideology (London: Batsford, 1992). Eagleton, T., Ideology: An Introduction (London: Verso, 1991). Harvey, S., May '68 and Film Culture (London: British Film Institute, 1978). Heath, S., Questions of Cinema (London: Macmillan, 1981). Larrain, J., The Concept of Ideology (London: Hutchinson, 1979). Lovell, T., Pictures of Reality (London: British Film Institute, 1983). Metz, c., Language and Cinema (The Hague: Mouton, 1974). Nichols, B., Ideology and the Image (Bloomington: Indiana University Press, 1981). Nichols, B. (ed.), Movies and Methods (London: University of California Press, 1976). Nichols, B. (ed.), Movies and Methods, Vol. 2 (London: University of California Press, 1985). Rosen, P. (ed.), Narrative, Apparatus. Ideology (New York: Columbia University Press, 1986). Silverman, K., The Subject of Semiotics (New York: Oxford University Press, 1983). Thompson, J. B., Ideology and Modern Culture (London: Polity Press, 1990). Wolff, J., The Social Production of Art (London: Macmillan, 1981).

PART 2: HOLLYWOOD IN THE THIRTIES

Balio, T. (ed.), The American Film Industry, rev. edn, (London: University of Wisconsin Press, 1985). Baxter, J., Hollywood in the Thirties (London: Tantivy, 1968). Bergman, A., We're in the Money (London: Harper and Row, 1972). Bordwell, D., Staiger, J. and Thompson, K., The Classical Hollywood Cinema (London: Routledge and Kegan Paul, 1985). Dale, E., The Content of Motion Pictures (New York: Macmillan, 1935). Dooley, R., From Scarface to Scarlett (London: Harcourt Brace Jovanovich, 1981). Dyer, R., Stars (London: British Film Institute, 1979). Forman, H. J., Our Movie Made Children (New York: Macmillan, 1933). Gomery, D., The Hollywood Studio System (London: Macmillan, 1986). Higham, c., Hollywood Cameramen (London: Thames and Hudson, 1970). Izod, J., Hollywood and the Box Office, 1895-1986 (London: Macmillan, 1988). Jacobs, L., The Rise of the American Film (New York: Teachers College Press, 1968). Jowett, G., Film: the Democratic Art (Boston: Little, Brown and Company, 1976). Kerr, P. (ed.), The Hollywood Film Industry (London: Routledge and Kegan Paul, 1986).

161 162 Select Bibliography

Kindem, G. (ed.), The American Movie Industry (Carbondale: Southern Illinois University Press, 1982). Mahin, L., The Art of the Cinematographer (New York: Dover, 1978). Moley, R. Are We Movie Made? (New York: Macy-Masius, 1938). Moley, R., The Hays Office (Indianapolis: Bobbs-Merrill, 1945). Paine, J., The Simplification of American Life (New York: Amo Press, 1977). Quigley, M., Decency in Motion Pictures (New York: Macmillan, 1937). Roddick, N., A New Deal in Entertainment (London: British Film Institute, 1983). Ross, M., Stars and Strikes (New York: AMS Press, 1967). Rosten, L., Hollywood: The Movie Colony, The Movie Makers (New York: Amo Press, 1970). SaIt, B., Film Style and Technology (London: Starwood, 1983). Thorp, M., America at the Movies (New York: Arno Press, 1970). Wasko, J., Movies and Money (Norwood: Ablex, 1982). Index

Abbott, George 27 Balaban, Barney 109 Abe Lincoln in Illinois 141 Banks, Leslie 55 Abel, David 93 Barrie, Wendy 126 Abercrombie, Nicholas 10, II Barrymore, John 62 Adams, Edgar 28 Barthes, Roland 15, 105 Adam's Rib 95 Bartholomew, Freddie 108, 125 Adler, Mortimer 81 base and superstructure 13 The Adventures of Robin Hood 21, Basevi, James 124 111-14, 120, 121, 152 28 The Adventures of Sherlock Baxter, John 109 Holmes 143 Baxter, Warren 86 Agfa film 83 Bazin, Andre 4,5, 142 Agricultural Adjustment Act 78, 79 Beal, John 91 Alice Doesn't Live Here Anymore 20 Becky Sharp 83 All Quiet on the Western Front 8, Beery, Wallace 86,88 27--43,47,66,71,73,74,87, 104, Bellamy, Ralph 94, 97 114 Belle of the Nineties 93 Almendros, Nestor 2 Bergman, Andrew 1,94,95, 122 alternating structure 22, 40 Berkeley, Busby 84, 85 Anderegg, M. A. 125 Berman, Pandro S. 93 Anderson, Maxwell 27 The Big Parade 27 Andrews, Del 27 A Bill of Divorcement 47 The Angels Wash Their Faces 125 biopics 110, 141 Angels With Dirty Faces 125, 127 Biskind, Peter 9 Anna Karenina 103 Bitzer, Billy 2 Anthony Adverse 82 The Black Cat 109 Applause 2, 62 blind booking 6 arc lights 4, 35, 131, 132 block booking 6 arc structure 21,33,40, 104, 105 Blockade 140 Annstrong, Robert 55 47,58 Arrowsmith 47 Bogart, Humphrey 125, 126 Astaire, Fred 93,97,99, 108 Boleslawski, Richard 90 Atlas Corporation 109 bonus-marchers 45, 46 Atwill, Lionel 145 Bordwell, David 5, 23, 48, 69, 72, 73, The Awful Truth 8,93-107, 110, 111, 82,83, 108 114, 128, 129, 135 Borzage, Frank 114, 118, 141 Ayres, Lew 43 The Bowery 109 Branigan, Edward 25 B-films 6, 93, 94 Breen, Joseph 81, 82 Baby Face 82 Brenon, Herbert 27 Bachelor Mother 141 Bride of Frankenstein 5, 84, 88-90, Back Street 65 106, 109 Bacon, Lloyd 84 Bringing Up Baby 94, 95, 96

163 164 Index

Britton, Andrew 95, 96, 98 Cooper, Gary 118 Broadway 28 Cooper, Jackie 108, 125 Bruccoli, Matthew J. 114 Coppola, Francis 20 Bruce, Nigel 143 Coughlin, Charles 79 Burch, Noel 5, 6 Coutard, Raoul 2 Byrge, D. 95 The Crowd 27,31 La Cucaracha 83 Cabiria 31 Cukor, George 28, 97, 146 Cagney, James 7,49, 108, 127 Cunningham, Cecil 97 Camille 103, 110, 141 Curtiz, Michael Ill, 127 Canham, Kingsley 29 Capra, Frank 93, 94, 95, 96, 97 Daniels, William 2, 52, 70 Captain Blood 110 D'Arcy, Alexander 97 Captains Courageous 108 Dark Victory 141 Carradine, John 144 Daughters Courageous 141 Carruth, Milton 28 David Copperfield 108 The Cat and the Canary 141 Davis, Bette 141 Cavell, Stanley 94, 95 Day, Richard 124, 125 CBS see Columbia Broadcasting day-for-night 112 System Dawson, Ralph III Chan, Charlie 146 De Havilland, Olivia 112, 146, 147 Chaplin, Charles 123, 124, 141 De Mille, Katherine 87 The Charge of the Light Brigade 152 Dead End 8, 123-37, 138, 152 Charters, W. W. 80 Dead End Kids 108, 125, 127 Chevalier, Maurice 62 deep focus 4,5, 16,83, 133-4, 142 child stars 108 Dell, Gabriel 125 83, 132, 133, 142, 143 Delmar, Vina 93, 94 City Lights 123 The Depression 11,44,45,47,61,62, City Streets 50, 62 63, 76, 77, 78, 81, 95, 110, 120, Civilian Conservation Corps 78 152 Clarke, Charles 86 Design for Living 96 classical styistic paradigm 5, 108 Destry Rides Again 141 Cline, Wilfrid 147 detective films 132, 145, 146 Clive, Colin 89 Dieterle, William 2, Ill, 140 Clive, E. E. 89 Dietrich, Marlene 2, 62 Cohn, Harry 93 direct-to-camera shots 24, 26, 48, 49, Collins, James 10 50,56,57,59,64,67,69,70,73, colour 4, 16,20,83,84, III, 112, 114, 74, 75, 102, 113, 118, 140, 152 147 Dishonored 62 see also Technicolor Disney, Walt 6, 83 Columbia Broadcasting System 61 Doane, Mary Ann 119 Columbia Pictures 6,8,93,94,96,97, Dodge City 141 124, 142 Dodsworth 124 Comolli, J.-L. 9 the dominant 20, 21 Compton, Joyce 97 Dr Jekyll and Mr Hyde 8,43,61-76, Confessions of a Nazi Spy 140 104, 137 Conquest 103 Dos Passos, John 80 Conway, Jack 86 Doyle, Sir Arthur Conan 145 Cook, Donald 49,57 Dracula 70, 109, 141 Index 165

Dracula's Daughter 106 Frankenstein 47,70, 88, 89, 109, 141 The Draughtsman's Contract 20,21 Freaks 47 Dreier, Hans 62 Freed, Arthur 143 110, 141 Fresnel lenses 82 Duck Soup 47,93, 110 Freund, Karl 27, 29 Dunne, Irene 94, 97 Durbin, Deanna 7, 108, 109 Gable, Clark 53,54, 147, 148 dust bowl 78 Gabriel Over the White House 140 Dyer, Richard 73 gangster films 50,59, 110, 132, 141 Garbo, Greta 43, 53, 55, 70, 103, 110, Eagleton, Terry II 134, 141 Eason, B. Reeves III, 147 The Garden of Allah 112 Eastman film 82, 83 Garland, Judy 108 Easy Living 96, 106 Garmes, Lee 2,3, 147 Eddy, Nelson 108 Gaudio, Tony 27, III Edeson, Arthur 27 Gehring, Wes 95, 96 Eisenstein, Sergei 28 Gerrard, Henry 55 Evans, Walker 78 Gershwin, George 62 Glennon, Bert 142 Feuer, Jane 24 Godard, Jean-Luc 20,38 A Farewell to Arms 47, 118 Gold Diggers of 1933 84 Fair Labor Standards Act 79 Goldwyn, Samuel 2,6,8,90,91, 123, Fairbanks, Douglas 123, 124 124, 125, 127, 137, 152 A Family Affair 108 Gomery, Douglas 109, 110 Farm Security Administration 78 Gone With the Wind 1,5, 12, 112, Federal Emergency Relief Act 78 140, 141, 143, 14fr.51 The Film Daily 44, 78 Goosson, Stephen 124 film noir 53, 132, 133, 134, 142, 143, Gorey, Leo 125, 127 150 Gorin, Jean-Pierre 20 film stock 4, 82, 83, 133 Gramsci, Antonio 12 see also Agfa film; Eastman film; Grand Hotel 55 panchromatic film Grant, Cary 94, 95, 97 Fitzgerald, F. Scott 114 The Great Dictator 141 Flamini, Roland 146, 147, 149 The Great McGinty 94, 97 Fleming, Victor 146 The Great Waltz 114 Flesh and the Devil 27 Greenaway, Peter 20,21 Flowers and Trees 83 Greene, Richard 144 Flynn, Errol 110, 112 Greene, W. Howard III Follow the Fleet 93 Griffith, D. W. 123 Fonda, Henry 140 Footlight Parade 84 97 Ford, John 7,14,91,110,143,152 Hale, Alan 53 Foreign Correspondent 141 Hall, Huntz 125 Forman, Henry 28, 63, 80, 81 Haller, Ernest 2,3, 147 110, 152 Halop, Billy 125, 127 Fox Film Corporation 90, 108, 109, Handel, G. F. 117 110, 124 Hands Across the Table 96 see also Twentieth Century-Fox Hardy, Andy 108 42nd Street 84-6, 92, 108 Hark, Ina Rae 120 166 Index

Hawks, Howard 86,96,97, 142 interpellation 24, 25, 26, 41, 42, 73, Hayes, Helen 118 74, 106 Hays Office see Motion Picture Intolerance 31 Producers and Distributors The Iron Horse 27 Association It Happened One Night 93, 94, 95, 96 Heath, Percy 62 Heath, Stephen 23 Jacobs, Lewis I, 96 Hecht, Ben 86 1 Hellman, Lillian 80, 124 Jenkins, Allen 126 Hemingway, Ernest I 18 Jennings, Dev 3, 49 Herzbrun, Henry 109 Jesse James 141 high-key lighting 17,20,47,48,58, Jones, Buck 93 82,83,84, 87, 10~ 103, 105, 111, Jones, M. A. 45,46, 78, 79, 139 112,114, 115, 117, 121, 132, 133, Jordan, Bobby 125 142, 152 Jowett, Garth 80, 122 Higham, Charles 2,3,4 Julian, Robert 31 Hill, S. 10 His Girl Friday 95, 96, 97 Kalmus, Natalie III Hitchcock, Alfred 141 Karloff, Boris 89 Hobart, Rose 63 Keaton, Buster 31 Hobson, Valerie 88 Keighley, William 111 Hoffenstein, Samuel 62 Kern, Hal 147 Holiday 95,97, 106 Kibbee, Guy 86 141 Kidnapped 108 Hopkins, Miriam 63, 70 King, Henry 109, 152 horror films 7, 58, 59, 70, 88, 106, King Kong 55 109, 132, 141 King of Jazz 40,41 Hoover, Herbert 11,46 Kingsley, Sidney 124 'Hoovervilles' 46 The Kiss 43 The Hound of the Baskervilles 143-6 Knowles, Patrie 112 The Hound of ZarofJ see The Most Korngold, Erich Wolfgang III Dangerous Game Kuleshov effect 24 House of Rothschild 109, 140 Howard, Leslie 148 La Cava, Gregory 96, 140 Howard, Sidney 147 95, 97 Howe, James Wong 2,3,86,87,88,92 The Lady in the Lake 65,74 Hudson, Rochelle 90 Laemmle, Carl 27, 109 Hugo, Victor 91 Laemmle, Carl, Jr 27,28,29,30,40 Huston, John 143 Lamont, Molly 97 Lanchester, Elsa 89 I Am a Fugitive from a Chain Landon, Alfred 139 Gang 47,91 Lanfield, Sidney 143 110 Lang, Charles 118 incandescent lights 35 Lang, Fritz 143 The Informer 91 Lange, Dorothea 78 Ingram, Rex 2 Lasky, Jesse 61,62, 123 institutional mode of representation 5, Laughton, Charles 90 6 Leach, Jim 95 Intermezzo 141 League of Decency 82, 84 Index 167

Lehman, Peter 69 Mandell, Daniel 124 Leigh, Vivien 146, 147 Mankiewicz, Joseph 114 Leisen, Mitchell 96, 97 March, Fredric 2, 62, 90 Lend-Lease Act 139, 140 Marie Walewska see Conquest Leonard, Robert Z. 52 Marley, Peverell 143 The Letter 142 Marx Brothers 62, 96, 110 Leuchtenberg, William E. 45 Mary of Scotland 91 Lewis, Howard 61, 62, 63 Mascot 6 lighting see arc lights; high-key Mate, Rudolph 124 lighting; low-key lighting; mid-key Mayer, Louis B. 86, 109 lighting; Mole-Richardson Maynard, Ken 93 spotlight; Nuremburg lighting; melodramas 59, 108, Ill, 112, 114, plein air lighting; star lighting 115 Lindbergh, Charles 139 Menzies, William Cameron 147 Little Caesar 49, 50 Mescall, John 88 The Little Foxes 124, 133, 142 Metro-Goldwyn-Mayer 6, 52, 55, 58, Little Lord Fauntleroy 108 59,61,85,86,96,97, 108, 109, Little Man, What Now? 141 110, 114, 120, 140, 141, 143 Lloyds of London 109 Metz, Christian 16, 17 Long, Huey 79 MGM see Metro-Goldwyn-Mayer 143 mid-key lighting 17,47,49,53,54, Lorre, Peter 146 55, 58, 82, 84, 89, 90, 149 Lost Horizon 94, 124 Midnight 97 low-key lighting 2, 3, 17, 24, 48, 54, Milestone, Lewis 8,27, 28, 29, 30 55,58,59,83,87,88,89,90,91, Miller, R. M. 95 113, 115, 133, 135, 142, 143, 148, Milne, Tom 69 149 Milner, Victor 2 Loy, Myrna 96 The Miracle of Morgan's Creek 97 Lubitsch, Ernst 59,61,62,96, 109 The Miracle Woman 47 Ludlow Amendment 139 Les Miserables 84,90-2, 109, 121 Lux Radio Theatre 153 Mr Deeds Goes to Town 94,96 Mr Robinson Crusoe 123 MacArthur, General 45, 46 Mr Smith Goes to Washington 94, 96, McCarey, Leo 8, 62, 93, 94, 96 97, 141 McCoy, Tim 93 Mitchell, Thomas 147 McCrae, Joel 55, 125, 126 Modern Times 123 McDaniel, Hattie 147 Mole-Richardson spotlight 82 McDonald, Jeanette 108 Moley, Raymond 81,82 McLeod, Norman Z. 62, 96, 97 Monkey Business 62 McQueen, Butterfly 147 Monogram 6, 109 Mad About Music 109 montage sequences 53,54,85, 100" Madsen, A. 125 103, 105, 106, 118 The Magnificent Ambersons 22, 142 Montgomery, Robert 65, 74 Main, Marjorie 126 Morocco 2, 58 Maltby, Richard 82 The Mortal Storm 141 The Maltese Falcon 132, 143 The Most Dangerous Game 49,55-7, Maltin, Leonard 2, 4 58, 70 Mamoulian, Rouben 2,8,61,62,63, Motion Picture Association of 64,66,109 America 45, 78 168 Index

Motion Picture Producers and Peck, Charles 125 Distributors Association 81, 82 The Petrified Forest 125 Motion Picture Research Council 80 The Phantom of the Opera 31 motivation 20 The Philadelphia Story 95, 97 Moto, Mr 146 Pichel, Irving 55 Mott, Charles Stewart 79, 80 Pickford, Mary 123, 124 MPPDA see Motion Picture Producers plein air lighting 135 and Distributors Association The Plow That Broke the Plains 135 The Mummy 70, 109 Polito, Sol 3, 84, III Mundin, Herbert 112 Porgy and Bess 62 Muni, Paul 110 Poverty Row 6, 124 musical films 4,7, 14,24,40,93, 108, Powell, William 96 109, 110, 141 The Power and the Glory 88 My Man Godfrey 96, 106 Prawer, S. S. 62, 63, 69 The Prisoner of Shark Island 110 Narboni, J. 9 producer unit system 61 National Industrial Recovery Act 78, Production Code 80-2, 108, 110, 122, 79 124, 141 National Labor Relations Act 78 3, 5, 49-52, 53, 55, National Recovery Administration 47 57 Naval Expansion Act 139 Public Works Administration 78 Neale, Steve 23 Punsley, Bernard 125 New Deal 1,46,77-80,84, 152 New York Times 28 Queen Christina 134 Newman, Alfred 124 Quigley, Martin 81 Nichols, Bill 9 A Night at the Opera 110 radio 153 Ninotchka 141 Radio-Keith-Orpheum 6,55,59,91, Nothing Sacred 96, 106 93, 108, 109, 110, 124, 152 Nuremburg lighting 36 Raging Bull 20 Rains, Claude 112 O'Brien, Pat 127 Rainsberger, Todd 3, 4, 86, 87 O'Connor, Robert 49 Rathbone, Basil 112, 143 O'Connor, Una 88 The Raven 109 Odets, Clifford 80 Reader, Keith 94, 97 Ogle, Patrick 4, 5, 83 Red Dust 47 Oland, Warner 146 reframing 18, 30, 31, 32, 48, 66, 72, The Old Dark House 47, 70, 109 73, 84, 99, 105, III On the Waterfront 143 relative autonomy 13 One Hour With You 96 Remarque, Erich Maria 27, 114 One Hundred Men and a Girl 109 Rennehan,Ray 147 Only Angels Have Wings 142 Republic Pictures 6, 109 reverse-cut editing 48, 49, 52, 74, 75, Paine, Jeffrey 22 113 panchromatic film 2, 35 Richman, Arthur 94 6,8,59,61,62, Riskin, Everett 93 63, 66, 93, 96, 97, 109, 110, 118 RKO see Radio-Keith-Orpheum Payne Fund studies 80, 81 Roach, Hal 97 Pearl Harbor I, 80, 139 The Roaring Twenties 141, 143 Index 169

Robertson,John 62 The Smiling Lieutenant 62 Robinson, Edward G. 108 Snow White and the Seven Dwarfs 83 Roddick, Nick 82, 122 Social Security Act 78 Rogers, Ginger 93, 97, 108 Son of Frankenstein 141 Romeo and Juliet 109 Spanish Civil War 140 Rooney, Mickey 108, 125 Stagecoach 141, 142, 149 Roosevelt, Franklin Delano I, II, 46, Staiger, Janet 5, 108 47, 78, 79, 81, 84, 120, 139 110 The Royal Family of Broadway 2 star lighting 39, 73, 103, 132 Ruggles, Wesley 96 statistical shot analysis 21 Ruggles of Red Gap 93, 96 Steinbeck, John 80 Rumble Fish 20 Sternberg, Josef von 2, 58, 61, 62, 66, Russell, Sharon 17 109 Ruttenberg, Joseph 114 Stevenson, Robert Louis 62, 74 Storaro, Vittorio 2 Sadoul, Georges 125 The Story of Alexander Graham Salt, Barry 5, 17,21,35,65,66, 129 Bell 141 27 The Struggle 123 Sarris, Andrew 2 Struss, Karl 62 Scarlet Dawn 2 Sturges, Preston 94, 97 Schenck,Joseph 109,123 Sullavan, Margaret 114 Schoedsack, Ernest B. 55 Sullivan's Travels 97 Schrader, Paul 143 Sunrise 27 Schulberg, B. P. 61,62 superstructure see base and Schulberg, Budd 62 superstructure Scorsese, Martin 20 Susan Lenox, Her Fall and Rise 49, screwball comedies 93,94-7,98, 106, 52-5,57,58, 121 110 swashbuckler films 110, 113 Secrets 123 Swanee River 141 Seitz, John 2 The 143 sequence-shots 22, 48, 49, 51, 52, 65, Swing Time 93 66, 73, 75 Selective Service and Training Targetfor Tonight 141 Act 139,140 Taylor, Dwight 93 Selznick, David O. 6, 14,96,97, 109, Taylor, Robert 114 112, 124, 146, 147, 152 Technicolor I, 16, 40, 83, III, 112, Seventh Heaven 152 114,147 Shahn, Ben 78 technological detenninism 3, 4 Shall We 93 Temple, Shirley 108, 109 Shamroy, Leon 2 Tennessee Valley Authority 78 Shanghai Express 58 Terkel, Studs 79 Sherlock Junior 31 Thalberg, Irving 109, 147 Sherwood,Robert 62 That Certain Age 109 Show Boat 109 These Three 124, 127, 131 Sidney, Sylvia 125, 126 Thesiger, Ernest 88 8,27,31,32,41,47,62, They Won' t Forget 94 66, 72, 73, 108 Thiede, Karl 28 Silverman, Kaja 15 The Thin Man 88, 96 Slide, Anthony 28 Thompson, John B. 12, 13, 15 170 Index

Thompson, Kristin 5, 6, 31, 32, 72, Wanger, Walter 109, 124, 140, 141, 108 152 Thorp, Margaret 94 war films 34 Three Comrades Ill, 114-19, 120, Warner Brothers 2,3,6,49,59,82, 140, 141 84,92, 110, 111, 114, 120, 122, Three Smart Girls 109 125, 127, 140, 141 lbree Stooges, The 93 Waters, John 86 Toland, Gregg 2,3,90, 124, 125, 131, Watson, Minor 125 133, 137, 142 Watt, Harry 141 Toler, Sidney 146 Wayne, John 149 Tone, Franchot 114 Weales, Gerald 94 Top Hat 93, 99 Wealth Tax Act 78 Topper 96 Welles, Orson 4, 18,22,80, 142 Topper Takes a Trip 97 Wellman, William A. 49,96 Tout Va Bien 20 The Werewolf of London 109 Townsend, Francis 79 West, Mae 14, 108 Tracy, Lee 86 western films 4, 14,92, 141 Transatlantic 88 The Westerner 124 Trevor, Claire 125, 126 Wexler, Haskell 2 Trouble in Paradise 47,59,96 Weyl, Carl Jules 111 True Confession 96 Whale, James 88,92, 109 Turner, B. S. 10 Wheeler, Lyle 147 Twentieth Century 90, 109, 123, 140 Wheen, A. W. 27,29 Twentieth Century 94, 96 White, Jules 93 Twentieth Century-Fox 6, 110, 143, Whiteman, Paul 40 146, 152 Wilder, Thornton 80 Williams, Raymond 3, 4 Union Pacific 141 Willis, Gordon 2 United Artists 6,90, 109, 123, 124 Willkie, Wendell 139 Universal Film 6,7,8,27,28,40,88, Wilson, Woodrow 139 96, 108, 109, 110, 143 The Wind 27 The Wizard of Oz 83, 141 Van Dyke, W. S. 96 Wood, Sam 146 Variety 32 Woods, Edward 49 Vidor, King 31, 62 Wray, Fay 55,87 Viva Villa! 5, 84, 86-8, 92 Wuthering Heights 124, 131, 142 Von Sternberg, Josef see Sternberg, Wyler, William 4,8,83, 123, 124, Josef von 125,131,132,133,137,142 Vorkapich, Slavko 85, 118 Yates, Herbert 109 Wagner, Richard 117 You Can't Take It With You 94,96,97 Wagner Act see National Labor You Only Live Once 143 Relations Act Young, Robert 114 Walker, Joseph 93 Young in Heart 97 Wall Street Crash 1,46, 140, 152 Young Mr Lincoln 110, 141 Wallace, Richard 97 Zanuck, Darryl F. 90,92, 123, 124 Wallis, Hal B. 111 Zerbe, Jerome 79,80 Walsh, Raoul 143 zoning 6