DOCSLIB.ORG

WRAP THESIS Pilkington 2015.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WRAP THESIS Pilkington 2015.Pdf A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/79404 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Courtroom Trial Sequence in Hollywood Cinema, 1934-1966 Patrick Pilkington A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies October 2015 1 Table of Contents List of Tables ........................................................................................................................ 4 List of Illustrations ............................................................................................................... 5 Acknowledgments ................................................................................................................ 9 Declaration ......................................................................................................................... 10 Abstract ............................................................................................................................... 11 Introduction ........................................................................................................................ 12 Review of the Literature .................................................................................................... 23 1. Standard Trial Procedure: The Conventions of the Courtroom Trial Sequence in Hollywood Cinema, 1934-1966 ......................................................................................... 51 The Space of the Courtroom ............................................................................................ 55 Legal Actors: The Players in the Courtroom ................................................................... 67 Procedural and Dramatic Development: Courtroom/Drama............................................ 89 2. The Great Levellers?: Social Issues on Trial and the Social Problem Film Courtroom Sequence ....................................................................................................... 118 The ‘Social Problem’ Problem ....................................................................................... 119 The Courts, the Roads and the “Place to Hang your Hat”: Dust Be My Destiny ........... 135 “…to be tried because she is a Negro”: The Problem Trial in Pinky ............................. 165 3. Laws of Desire: The Courtroom Sequence in the Woman’s Melodrama ............... 194 Conceptualisations of Film Melodrama (1): The Family Melodrama ........................... 195 Conceptualisations of Film Melodrama (2): The Woman’s Melodrama ....................... 200 Melodrama and Emotion................................................................................................ 202 Melodrama’s Aesthetic of Justice and Relationships to the Law .................................. 204 Home Truths: The Courtroom Trial Sequence of Peyton Place .................................... 213 The Mother and The Law in Madame X ........................................................................ 242 4. Disorder and the Caught: The Courtroom Trial Sequence in Film Noir ............... 268 Defining Noir ................................................................................................................. 268 Reconsidering Law Noir ................................................................................................ 277 Noir’s Peripheral Courts: The Oblique Trials of Scarlet Street and Phantom Lady ...... 285 “Sometimes they do get the wrong man….”: Stranger on the Third Floor and the Nightmare Trials of Noir ............................................................................................... 294 2 “This trial keeps getting screwier all the time”: The Courtroom’s Place in the World (Gone Insane) of The Lady from Shanghai .................................................................... 331 Conclusion ........................................................................................................................ 361 Appendix: Evidence of the Prevalence of the Conventions of Trial Depiction in Hollywood Cinema ........................................................................................................... 367 Bibliography ..................................................................................................................... 373 Filmography ..................................................................................................................... 386 3 List of Tables Table 1: The Conventions Used in Depicting the Space of the Courtroom…...…368 Table 2: The Conventions Used in Depicting the ‘Legal Actors’…………..……369 Table 3: The Conventions of ‘Courtroom/Drama’…………………………….…371 4 List of Illustrations Figure 1. Diagram of the standard courtroom layout in Hollywood cinema………………56 Figure 2. Judge and witness in frame in To Kill a Mockingbird…………………………...60 Figure 3. The triangular configuration in To Kill a Mockingbird………………………….61 Figure 4. The triangular configuration in Anatomy of a Murder…………………………..61 Figure 5. ‘Anthropocentric commitment’– the camera arcs 360 degrees around the character of Tad Lawson, prosecuting attorney (Richard Widmark) in Judgment at Nuremberg [1]……………………………………………………………………………..65 Figure 6. ‘Anthropocentric commitment’ [2]……………………………………………...65 Figure 7. ‘Anthropocentric commitment’ [3]…………………………………………..….65 Figure 8. ‘Anthropocentric commitment’ [4]……………………………………………...66 Figure 9. The Judge in To Kill a Mockingbird…………………………………………….69 Figure 10. The Judge in Compulsion…………………………………………………...…69 Figure 11. First Doctor on the stand in Compulsion………………………………………88 Figure 12. Second Doctor on the stand in Compulsion……………………………………88 Figure 13. Ruth (Diane Varsi) in close-up on the stand in Compulsion…………………..88 Figure 14. The defendant’s outburst in Witness for the Prosecution……………………...97 Figure 15. The defendant’s outburst in Anatomy of a Murder…………………………….98 Figure 16. A panicked Mayella (Collin Wilcox) in To Kill a Mockingbird……………...100 Figure 17. The camera zooms in on Mayella…………………………………………..…101 Figure 18. Mayella’s outburst………………………………………………………….....101 Figure 19. The triangular configuration in The Young Philadelphians………………..…106 Figure 20. Lawrence versus Donetti [1]………………………………………………….107 Figure 21. Lawrence versus Donetti [2]………………………………………………….107 Figure 22. Tony (Paul Newman) framed with the jury…………………………………...109 Figure 23. Tony approaching the witness……………………………………………...…109 Figure 24. Atticus Finch (Gregory Peck) giving his closing statement in To Kill a Mockingbird……………………………………………………………………………....114 Figure 25. Jonathan Wilk (Orson Welles) gives his closing statement in Compulsion…..115 Figure 26. The ‘new citizen’ of To Kill a Mockingbird…………………………………..131 Figure 27. …and the defendant of To Kill a Mockingbird……………………………….131 Figure 28. The ‘new citizen’ of 12 Angry Men…………………………………………...131 5 Figure 29. …and the defendant of 12 Angry Men…………………………………….….132 Figure 30. The Justice of the Peace in Dust Be My Destiny………………………...……140 Figure 31. The unimpressive lower court of Dust Be My Destiny………………………..142 Figure 32. The Justice of the Peace…………………………………………...………….147 Figure 33. The Judge of the climactic courtroom trial………………………..……….....147 Figure 34. The jury, as viewed by Joe and the viewer……………………………………154 Figure 35. Mabel appealing to the jury [1]……………………………………………….159 Figure 36. Mabel appealing to the jury [2]……………………………………………….159 Figure 37. A shot of the jury, being addressed by Mabel…………………………...……161 Figure 38. A female juror in the back row leans forward, responding to Mabel’s distress…………………………………………………………………………………….161 Figure 39. Mabel breaks down on the stand………………………………………..….…162 Figure 40. A reaction shot of Joe during Mabel’s plea………………………………..….162 Figure 41. The happy family post-verdict [1]…………………………………………….164 Figure 42. The happy family post-verdict [2]…………………………………………….164 Figure 43. Stanley (Dan Riss), gesturing to the “colored” defendant……………….……177 Figure 44. Stanley gesturing to the “reliable witnesses”…………………………….….177 Figure 45. Stanley and Sheriff Anderson (Arthur Hunnicut) reclining during Anderson’s examination………………………………………………………………………………182 Figure 46. The anonymous jury of Peyton Place………………………………………...227 Figure 47. The conventional depiction of the judge……………………………………...227 Figure 48. Constance (Lana Turner) makes eye-contact with her daughter during court’s coming to order………………………………………………………………………..…228 Figure 49. Allison (Diane Varsi) glances at her mother…………………………………228 Figure 50. Selena alone mid-frame after saying farewell to Ted…….…………….230 Figure 51. Selena framed in isolation during Lucas’ attempted “attack”.……………….230 Figure 52. Selena’s presence minimised by the framing during her testimony………….231 Figure 53. Constance on the stand, distracted by her daughter………………………….234 Figure 54. Allison’s reaction conveys her concern for her mother………………………234 Figure 55. Constance breaks down on the stand [1]……………………………………..234 Figure 56. Constance breaks down on the stand [2]……………………………………..235 Figure 57. Marylee Hadley (Dorothy Malone) shares
Load more

Recommended publications
  • Judges As Film Critics: New Approaches to Filmic Evidence
    University of Michigan Journal of Law Reform Volume 37 2004 Judges As Film Critics: New Approaches To Filmic Evidence Jessica M. Silbey Foley Hoag L.L.P. Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Evidence Commons, Law and Society Commons, and the Litigation Commons Recommended Citation Jessica M. Silbey, Judges As Film Critics: New Approaches To Filmic Evidence, 37 U. MICH. J. L. REFORM 493 (2004). Available at: https://repository.law.umich.edu/mjlr/vol37/iss2/5 This Article is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. JUDGES AS FILM CRITICS: NEW APPROACHES TO FILMIC EVIDENCE Jessica M. Silbey* This Article exposes internalcontradictions in case law concerning the use and ad- missibility of film as evidence. Based on a review of more than ninety state and federal cases datingfrom 1923 to the present, the Article explains how the source of these contradictionsis the frequent miscategorizationoffilm as "demonstrativeevi- dence, "evidence that purports to illustrate other evidence, ratherthan to be directly probative of some fact at issue. The Articlefurtherdemonstrates how these contradic- tions are based on two venerablejurisprudential anxieties. One is the concern about the growing trend toward replacing the traditionaltestimony of live witnesses in court with communications via video and film technology.
    [Show full text]
  • Civil Trials: a Film Illusion?
    Fordham Law Review Volume 85 Issue 5 Article 3 2017 Civil Trials: A Film Illusion? Taunya L. Banks University of Maryland Francis King Carey School of Law Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Civil Law Commons, and the Law and Society Commons Recommended Citation Taunya L. Banks, Civil Trials: A Film Illusion?, 85 Fordham L. Rev. 1969 (2017). Available at: https://ir.lawnet.fordham.edu/flr/vol85/iss5/3 This Colloquium is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. CIVIL TRIALS: A FILM ILLUSION? Taunya Lovell Banks* INTRODUCTION The right to trial in civil cases is enshrined in the U.S. Constitution1 and most state constitutions.2 The lack of a provision for civil jury trials in the original draft of the Constitution “almost derailed the entire project.”3 According to the French social scientist Alexis de Tocqueville, the American jury system is so deeply engrained in American culture “that it turns up in and structures even the sheerest forms of play.”4 De Tocqueville’s observation, made in the early nineteenth century, is still true today. Most people, laypersons and legal professionals alike, consider trials an essential component of American democracy. In fact, “the adversarial structure is one of the most salient cultural features of the American legal system.
    [Show full text]
  • National Box Office Digest Annual (1940)
    Ho# Ujjfice JbiaeAt Haui: «m JL HE MOST IMPORTANT NEWS of many moons to this industry is the matter-of-fact announcement by Technicolor that it will put into effect a flat reduction of one cent a foot on release prints processed after August 1st. "There is a great industrial story of days and nights and months and years behind the manner in which Dr. Kalmus and his associates have boosted the quality and service of color to the industry, beaten down the price step by step, and maintained a great spirit of cooperation with production and exhibition. TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, President , 617 North La Brea Avenue, Los Angeles, Subscription Rate, $10.00 Per ■Ml ^Ite. DIGEST ANNUAL *7lie. 1/ea>i WcM. D OMESTIC box office standings take on values in this year of vanished foreign markets that are tremendous in importance. They are the only ratings that mean anything to the producer, director, player, and exhibitor. Gone—at least for years to come—are the days when known box office failures in the American market could be pushed to fabulous income heights and foisted on the suffering American exhibitor because of a shadowy "for¬ eign value.” Gone are the days—and we hope forever—when producers could know¬ ingly, and with "malice aforethought,” set out on the production of top budgetted pictures that would admittedly have no appeal to American mass audiences, earn no dimes for American exhibitors. All because of that same shadowy foreign market. ^ ^ So THE DIGEST ANNUAL comes to you at an opportune time.
    [Show full text]
  • Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
    BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing.
    [Show full text]
  • Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
    Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque 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 télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Film Club Sky 328 Newsletter Freesat 306 MAY/JUNE 2020 Virgin 445
    Freeview 81 Film Club Sky 328 newsletter Freesat 306 MAY/JUNE 2020 Virgin 445 Dear Supporters of Film and TV History, Hoping as usual that you are all safe and well in these troubled times. Our cinema doors are still well and truly open, I’m pleased to say, the channel has been transmitting 24 hours a day 7 days a week on air with a number of premières for you all and orders have been posted out to you all every day as normal. It’s looking like a difficult few months ahead with lack of advertising on the channel, as you all know it’s the adverts that help us pay for the channel to be transmitted to you all for free and without them it’s very difficult. But we are confident we can get over the next few months. All we ask is that you keep on spreading the word about the channel in any way you can. Our audiences are strong with 4 million viewers per week , but it’s spreading the word that’s going to help us get over this. Can you believe it Talking Pictures TV is FIVE Years Old later this month?! There’s some very interesting selections in this months newsletter. Firstly, a terrific deal on The Humphrey Jennings Collections – one of Britain’s greatest filmmakers. I know lots of you have enjoyed the shorts from the Imperial War Museum archive that we have brought to Talking Pictures and a selection of these can be found on these DVD collections.
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I.
    [Show full text]
  • John Garfield
    John Garfield: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Garfield, John, 1913-1952 Title: John Garfield Papers Dates: 1932-2010, undated Extent: 4 document boxes, 2 oversize box (osb), 2 bound volumes (bv) (5.04 linear feet) Abstract: The John Garfield papers, 1932-2010, consist of production photographs and film stills, headshots, photographs, posters, sheet music, clippings, and press releases from his film and stage work; film contracts, articles, magazines, family photos, and correspondence donated by his daughter, Julie Garfield. Call Number: Film Collection No. FI-00074 Language: English Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Special Handling Special Handling Instructions: Most of the binders in this collection Instructions: have been left in an unaltered or minimally processed state to provide the reader with the look and feel of the original. When handling the binders with inserted materials, users are asked to be extremely careful in retaining the original order of the material . Most of the photographs and negatives in the collection have been sleeved, but patrons must use gloves when handling unsleeved photographic materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.
    [Show full text]
  • Case Study: Fritz Lang and Scarlet Street*
    Studia Filmoznawcze 31 Wroc³aw 2010 Barry Keith Grant Brock University (Canada) CASE STUDY: FRITZ LANG AND SCARLET STREET* Fritz Lang’s work in film spans the silent era almost from its beginnings through the golden era of German Expressionism in the 1920s and the classic studio sys- tem in Hollywood to the rise of the international co-production. In the course of his career Lang directed more acknowledged classics of the German silent cinema than any other director, made the first important German sound film (M, 1932), and dir ected some of the most important crime films and film noirs of the American studio era, including You Only Live Once (1937), The Big Heat (1953), and Scarlet Street (1945). Critics have commonly divided Lang’s extensive filmography into two major periods, the silent German films and the American studio movies. In the former he had considerable artistic freedom, while in Hollywood he worked against the greater constraints of the studio system and B-picture budgets; yet the thematic and stylistic consistency in Lang’s work across decades, countries, and different production contexts is truly remarkable. Consistently Lang’s films depict an entrapping, claustrophobic, deterministic world in which the characters are controlled by larger forces and internal desires beyond their understanding. In this cruelly indifferent world, people struggle vainly against fate and their own repressed inclinations toward violence. As in Hitchcock’s films, Lang’s often deal with the violent potential lurking within the respectable citizen and suggest that social order requires controlling the beast within. M (1932), Lang’s first sound film, is about a serial child killer (Peter Lorre) who explains to the kangaroo court of criminals about to execute him that he is possessed by a murder- * The text is taken, with the agreement of its author, from his book Film Genre: From Iconog- raphy to Ideology, London 2007, pp.
    [Show full text]
  • Courtroom Drama with Chinese Characteristics: a Comparative Approach to Legal Process in Chinese Cinema
    Courtroom Drama With Chinese Characteristics: A Comparative Approach to Legal Process in Chinese Cinema Stephen McIntyre* While previous “law and film” scholarship has concentrated mainly on Hollywood films, this article examines legal themes in Chinese cinema. It argues that Chinese films do not simply mimic Western conventions when portraying the courtroom, but draw upon a centuries-old, indigenous tradition of “court case” (gong’an) melodrama. Like Hollywood cinema, gong’an drama seizes upon the dramatic and narrative potential of legal trials. Yet, while Hollywood trial films turn viewers into jurors, pushing them back and forth between the competing stories that emerge from the adversarial process, gong’an drama eschews any recognition of opposing narratives, instead centering on the punishment of decidedly guilty criminals. The moral clarity and punitive sense of justice that characterize gong’an drama are manifest in China’s modern-day legal system and in Chinese cinema. An analysis of Tokyo Trial, a 2006 Chinese film about the post-World War II war crimes trial in Japan, demonstrates the lasting influence of gong’an drama. Although Tokyo Trial resembles Hollywood courtroom drama in many respects, it remains faithful to the gong’an model. This highlights the robustness of China’s native gong’an tradition and the attitudes underlying it. * J.D., Duke University School of Law; M.A., East Asian Studies, Duke University; B.A., Chinese, Brigham Young University. I thank Professor Guo Juin Hong for his valuable comments and encouragement. I also thank those who attended and participated in the 2011 Kentucky Foreign Language Conference at the University of Kentucky, at which I presented an earlier version of this article.
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • A Subcategory of Neo Noir Film Certificate of Original Authorship
    Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question.
    [Show full text]