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The Night of the Hunter: Noirish Or Film Noir?
The Night of the Hunter Noirish or film noir? Sigurd Enge A Thesis presented to the Department of Literature, Area Studies and European Languages, the University of Oslo, in Partial Fulfillment to the Requirements for the MA degree in North American Studies ENG4970 Masterspesialisering i engelsk, LAP Thesis advisor: Mark Luccarelli Autumn 2009 Table of Contents Introduction 3 Chapter 1: The Novel and the Film 6 A Short Synopsis of the Book 6 The Film as a Critical Text 7 The Film as Work of Art 11 Reception 13 Chapter 2: What Is Film Noir Anyway? 18 A Short Synopsis of the Film Noir Debate 20 The Noirish Aspects of the Night of the Hunter 25 The Malaise and Social Criticism of The Night of the Hunter 33 “A Faith Deformed” 35 Chapter 3: Further Analysis 44 The Stylistics of The Night of the Hunter 44 The Mixture of Expressionism and Realism in Hunter 53 Harry Powell – Urban psychopath, Frontiersman or Demon? 57 Conclusion 61 Bibliography 64 2 Introduction The first time I saw Charles Laughton’s The Night of the Hunter was at Riverside Studios in London in 2004. It was on a double bill with Jacques Tourneur’s acknowledged film noir classic Out of the Past, which I liked a lot more than Hunter. The latter seemed over acted and strange to me, and I found it much easier to enjoy a film about a private detective who was lured into violence and crime by a beautiful femme fatale. Out of the Past seemed more realistic and cooler, because it had people smoking cigarettes in dimly lit rooms and because it was full of banter with sexual innuendo. -
THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE As of July 2013
THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE as of July 2013 For more information, please e-mail the Archive Research & Study Center [ARSC] at [email protected] TITLE YEAR INV # FORMAT TYPE 1989 SIMON WIESENTHAL CENTER ANNUAL BANQUET 1989 M160341 1/2 IN. VHS VIDEOCASSETTE #2: TWELVE (12) ORIGINAL COMMENTARIES SENT TO US BY KRAMER IN 1977 M159949 1/4 IN. AUDIO REEL EARLY OCTOBER 34TH ANNUAL ACADEMY AWARDS SHOW: STANLEY KRAMER RECEIVING M160350 1/2 IN. BETACAM SP THE THALBERG AWARD #4: TWO (2) ADDITIONAL COMMENTARIES RECEIVED BY NORMAN 1977 M160250 1/4 IN. AUDIO REEL GLADNEY ON DECEMBER 5, 1977 5,000 FINGERS OF DR. T. 1953 M14494 16 SAFETY 5000 FINGERS OF DR. T -- CLIP REEL M160356 1/2 IN. BETACAM SP A.M. AMERICA: LT. CALLEY SEGMENT, STANLEY KRAMER 1/8/1975 M159434 3/4 IN. VIDEOCASSETTE ABC LATE NIGHT: THE COMEDIANS 1974 M159426 3/4 IN. VIDEOCASSETTE AMERICAN MASTERS -- SIDNEY POITER: ONE BRIGHT LIGHT M160331 1/2 IN. VHS VIDEOCASSETTE BIRTHDAY SEGMENT: CNN 9/29/2000, SHOWBIZ TODAY, KCBS 2000 M160334 1/2 IN. VHS VIDEOCASSETTE ENTERTAINMENT TONIGHT BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M19442 35 SAFETY [BLESS THE BEASTS AND CHILDREN -- EXCERPTS]. 1971 M14716 16 SAFETY [BLESS THE BEASTS AND CHILDREN -- TRAILER. TEASER NO. 2]. 1971 M48224 35 SAFETY CAINE MUTINY 1954 M6276 16 SAFETY CAMERA 4 REPORTS. STANLEY KRAMER, THE MOVIES, AND B.Y.U. 1972 T7412 2 IN. VIDEOREEL CARY GRANT: THE LEADING MAN M160347 1/2 IN. -
Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947. -
Bound Volume)
Job: 538BV$ Take: SPN1 10-28-04 13:29:42 The dashed line indicates the top edge of the book. ----------------------------------------------------------------------------------------------------------------- UNITED STATES REPORTS 538 OCT. TERM 2002 --------------------------------------------------------------------------------------------------- The dashed line indicates the bottom edge of the book. This camera copy was created for books with spines up to 31⁄4Љ wide. For smaller books, it must be centered on the spine and trimmed left and right as needed. 538BV$TITL 11-01-04 14:51:00 UNITED STATES REPORTS VOLUME 538 CASES ADJUDGED IN THE SUPREME COURT AT OCTOBER TERM, 2002 March 5 Through May 27, 2003 Together With Opinion of Individual Justice in Chambers FRANK D. WAGNER reporter of decisions WASHINGTON : 2004 Printed on Uncoated Permanent Printing Paper For sale by the U. S. Government Printing Office Superintendent of Documents, Mail Stop: SSOP, Washington, DC 20402-9328 538BV$ Unit: $UII [07-26-04 10:42:47] PGT: FRTBX Ⅵ Erratum 536 U. S. 39, line 19: “respodent’s” should be “respondent’s”. ii 538BV$ Unit: UIII [10-28-04 19:57:07] PGT: FRTBX Ⅵ JUSTICES of the SUPREME COURT during the time of these reports WILLIAM H. REHNQUIST, Chief Justice. JOHN PAUL STEVENS, Associate Justice. SANDRA DAY O’CONNOR, Associate Justice. ANTONIN SCALIA, Associate Justice. ANTHONY M. KENNEDY, Associate Justice. DAVID H. SOUTER, Associate Justice. CLARENCE THOMAS, Associate Justice. RUTH BADER GINSBURG, Associate Justice. STEPHEN BREYER, Associate Justice. officers of the court JOHN D. ASHCROFT, Attorney General. THEODORE B. OLSON, Solicitor General. WILLIAM K. SUTER, Clerk. FRANK D. WAGNER, Reporter of Decisions. PAMELA TALKIN, Marshal. SHELLEY L. DOWLING, Librarian.* *Ms. -
Frank Sinatra Part 26 of 29
FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECT: FRANK SINATRA Los Angeles le:100-41413 Secti0n:Sub A FEDERAL BUREAU OF INVESTIGATION THE BEST COPY OBTAINABLE IS INCLUDED IN THE REPRODUCTION OF THESE DOCUMENTS. PAGES INCLUDED THAT ARE BLURRED, LIGHT, OR OTHERWISE DIFFICULT TO %AD AEE THE RESULT OF THE CONDITION OF THE ORIGINAL DOCUMENT. NO BETTER COPY CAN BE REPRODUCED. Freedom of Information and Privacy Acts Release of Subject: Frank Sinatra File #: LA 100-41413 Section Sub A v-,p92q_~~7 ,§r¢;¢Ii1;0r"4 13- 4 31' ii ~"1m.W or 1 O §q-"p' Federal Bureauof Investigation 92- ::A92,,..,l:V-- .,,.-: ,___$-.£;=:>§.'.{g: ~13 5K '; -. _. -1 3 _. "".;"5 ~ ____'.. -:1 1 photqatgtic copies of flit 'E? -9 Isooklét ém?;11;1e¢1 "Comp1§te /;2?f> if insert for rept on FHA -. YMCA Credit rapt aon FRANK 6. "Peop1es' Vbice", 12/29/Q5; f T. "The Independent", 2/13/Q6 3. Phctostatic copy or Hy D serial 28- H. , 9. HY Jofnal art1c1¬t§su of 92 in.-1!;_ 10. Article from R!UJo}ng1 ll. Signed statement 12. AI'1;1¢I_6 Ir 5/]_$/ 1,. Phot93§at;c popy of §F§1r _ PI-¢g=1a31a="'i*s;a'a1=i1;;h¢*5.5' 5mP92g>t5@>z,»@-Qw» "' r E .. - .»..i' H J _ ¢~92i;?¢ a .§1_ §_=__,;'+~= . .i_¢ _9292 ._ :5 ' 5' - .»- ALI. Ii4i':J/Réaiéé->C:¬COll'TAIliED 2: . .5: » #51?! 1:i:EI2 Y z / ,_ '/: . -
Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H. -
Superman and Perry Mason, Their Respective Owners Own the Copyrights and Such
A SUPERMAN & PERRY MASON ADVENTURE By Bruce Kanin Originally written October 2016 Revised July 2018 1 THE ADVENTURES OF SUPERMAN / PERRY MASON © 2018 Bruce Kanin Disclaimer The original stories presented herein are Copyright © 2018 Bruce Kanin. All rights reserved. With regard to other aspects, such as those related to The Adventures of Superman and Perry Mason, their respective owners own the copyrights and such. These other aspects have merely borrowed here for the purposes of telling a story. 2 THE ADVENTURES OF SUPERMAN / PERRY MASON © 2018 Bruce Kanin 3 THE ADVENTURES OF SUPERMAN / PERRY MASON © 2018 Bruce Kanin 4 THE ADVENTURES OF SUPERMAN / PERRY MASON © 2018 Bruce Kanin INTRODUCTION BACK IN THE FIRST HALF OF THE 1950S, just before the television series The Adventures of Superman moved from black & white to color, CBS television produced what is termed a “backdoor pilot” for a new lawyer series called Perry Mason. The pilot occurred in two parts, with the first part being a special hour-long broadcast of The Adventures of Superman (normally presented as half-hour episodes) and the second being an hour-long pilot for Perry Mason. Unfortunately, the people behind Perry Mason decided to scrap their pilot after realizing that the intrepid lawyer and his stories should be wholly based on science, not science fiction and fantasy, which is what The Adventures of Superman involved. This also meant scrapping the backdoor pilot – the special hour-long episode of The Adventures of Superman. Of course, none of the above actually happened. No, it didn’t, but it is a “fun” way of imagining how these two beloved television series could be linked with one another. -
THE STANLEY KRAMER COLLECTION at UCLA FILM
THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE as of May 2012 INV # TITLE EPISODE TITLE SIZE ELEMENT FORMAT REELS OF M159949 #2: twelve (12) original commentaries sent to us by kramer in early october 1/4 IN. AUDIO REEL 1 1 M160250 #4: two (2) additional commentaries received by norman gladney on december 5, 1977 1/4 IN. AUDIO REEL 1 1 M14716 [Bless the beasts and children ‐‐ excerpts]. 16 PRINT SAFETY 1 1 M48224 [Bless the beasts and children ‐‐ tRailer. Teaser no. 2]. 35 PRINT SAFETY 1 1 M59194 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59193 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59196 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59195 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59198 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59197 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59200 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59199 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59202 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59201 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59204 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59203 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59206 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59205 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59211 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59210 [Interview. -
Transforming Whiteness: Seeing (And) Shifting Representations of Whiteness in Twentieth-Century American Literature and Film
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2009 Transforming whiteness: Seeing (and) shifting representations of whiteness in twentieth-century American literature and film Meredith McCarroll University of Tennessee Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation McCarroll, Meredith, "Transforming whiteness: Seeing (and) shifting representations of whiteness in twentieth-century American literature and film. " PhD diss., University of Tennessee, 2009. https://trace.tennessee.edu/utk_graddiss/6008 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Meredith McCarroll entitled "Transforming whiteness: Seeing (and) shifting representations of whiteness in twentieth-century American literature and film." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. La Vinia Delois Jennings, Major Professor We have read this dissertation and recommend its acceptance: Accepted for the Council: Carolyn -
Stanley Kramer Papers, 1945-1984
http://oac.cdlib.org/findaid/ark:/13030/ft2x0nb09b No online items Finding Aid for the Stanley Kramer papers, 1945-1984 Processed by Charlotte Payne; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Stanley 161 1 Kramer papers, 1945-1984 Finding Aid for the Stanley Kramer Papers, 1945-1984 Collection number: 161 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Charlotte Payne, October 1974 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, July 2002 Text converted and initial container list EAD tagging by: Apex Data Services © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Stanley Kramer Papers, Date (inclusive): 1945-1984 Collection number: 161 Creator: Kramer, Stanley Extent: 316 boxes (158 linear ft.)37 cartons (37 linear ft.)28 oversize boxes 2 oversize Folders Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Stanley Kramer (1913- ) was born in New York City. -
The National Film Registry: Acquiring Our Film Heritage. INSTITUTION Southeast Missouri State Univ., Cape Girardeau
DOCUMENT RESUME ED 390 451 IR 055 806 AUTHOR Ziegler, Roy A. TITLE The National Film Registry: Acquiring Our Film Heritage. INSTITUTION Southeast Missouri State Univ., Cape Girardeau. Kent Library. PUB DATE Oct 95 NOTE 48p. PUB TYPE Reference Materials Bibliographies (131) Reports Descriptive (141) EDRS PRICE MFOI/PCO2 Plus Postage. DESCRIPTORS Academic Libraries; Access to Information; Annotated Bibliographies; *Archives; Culture; *Film Libraries; *Filmographies; *Library Collection Development; National Libraries; Preservation; *Videotape Recordings IDENTIFIERS Classical Hollywood Films; Historical Background; Library of Congress; *National Film Registry; *Southeast Missouri State University ABSTRACT The National Film Registry, which is primarily a designated list of films to be preserved by the Library of Congress, is also a valuable tool for selecting "films that are culturally, historically, and aesthetically significant." Following a brief discussion of the history and selection process of the National Film Registry, Southeast Missouri State University's Kent Library's effort to provide access to the films using the VHS videotape format is described. An annotated "videography" of the Nat;onal Film Registry archives (1989-94) is then provided with 150 films listed under the following categories: animation; avant garde; comedy; detective and mystery; documentary; fantasy; horror; musical; science fiction; silent films; war; and westerns. A list of film distributors' addresses and phone numbers is also included. (Contains 19 references.)(AEF) * Reproductions supplied by EDRS are the best that can be made * * from the original document. * U S DEPARTMENT Of- E DU( Al IO'L EDUCATIONAL RESOURLLS INEORMAT ION E.ENTER 0 doc.umenln.v, :won eptotlig rd eeLL.,000 rout trq, 01191f1atirig It 0 Minor 1,00ff ff1,111, PorIs ci vio, i.f pu IfOO, .O flO.'1W11011 iii Ii t,..ir . -
The Philosophy of Film Noir
University of Kentucky UKnowledge American Popular Culture American Studies 1-27-2005 The Philosophy of Film Noir Mark T. Conard Marymount Manhattan College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Conard, Mark T., "The Philosophy of Film Noir" (2005). American Popular Culture. 19. https://uknowledge.uky.edu/upk_american_popular_culture/19 Conard The Philosophy of Film Noir Continued from front flap FILM/PHILOSOPHY The Philosophy Opening with an examination of what The constitutes noir cinema, the book of Film Noir interprets the philosophical elements Edited by Mark T. Conard consistently present in the films— “The Philosophy of Film Noir is an intellectually seductive, hard- Foreword by Robert Porfirio themes such as moral ambiguity, reason boiled romp through a world of moral murkiness, femme fatales, versus passion, and pessimism. The Philosophy contributors to the volume also argue and desperately lonely protagonists. The philosophers in this A drifter with no name and no past, that the essence and elements of noir easy-to-read collection provide us with a colorful backdrop for driven purely by desire, is convinced have fundamentally influenced movies seeing the dark films with clearer eyes.” of by a beautiful woman to murder her outside of the traditional noir period. husband.