The Films of Edgar G. Ulmer the Films of Edgar G

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[Free] The Films of Edgar G. Ulmer The Films of Edgar G. Ulmer nVvoJS6OO The Films of Edgar G. Ulmer PDlptxPU3 HO-76072 t0XE7Bv02 USmix/Data/US-2009 o3nq1Ozjg 4/5 From 559 Reviews cipSh4yTg From Herzogenrath Bernd 0qX47BMKI ebooks | Download PDF | *ePub | DOC | audiobook kEGovzxE1 888QTEibo l0XnMDmrW pWiQfvbJ6 JyKLguKJl Tp7GxFy4W C0FpUX06P AvxBUrKij 4 of 4 people found the following review helpful. Table of ContentsBy Hjalmar IufFtWmYV PoelzigForeword -- Ariann Ulmer CipesForeword: Out of Nothing -- Peter rYixtm76g BogdanovichIntroduction: Necessary Detours -- Bernd Herzogenrath1. noIYuDbxP Permanent Vacation: Home and Homelessness in the Life and Work of Edgar L3vuMKebI G. Ulmer -- Noah Isenberg2. The Search for Community -- John Belton3. On HQONCPiV3 the Graveyards of Europe: The Horror of Modernism in The Black Cat -- rQk7m2XDl Herbert Schwaab4. From Nine to Nine -- D.J. Turner5. Exile on 125th Street: UoxMZVmw4 African Americans, Germans, and Jews in Moon over Harlem -- Jonathan wUY7nuLPz Skolnik6. Forging the "New Jew": Ulmer's Yiddish Films -- Vincent Brook7. miYSxlSHq When You Get to the Fork, Take It: From Ulmer's Yiddish Cinema to Woody OjteoIjrT Allen -- Miriam Strube8. A World Destroyed by Gold: Shared Allegories of XQgkGHRD4 Capital in Wagner's Ring and Ulmer's Isle of Forgotten Sins -- Andrew Repasky uYWzHPwQn McElhinney9. Ulmer and the Noir Femme Fatale -- Alena Smieskov10. Detour's MGbNLHTyf Detour -- David Kalat11. Fantasy and Failure in Strange Illusion -- Hugh S. zOZZj6yXc Manon12. The Naked Filmmaker -- Bill Krohn13. The Political and Ideological Subtexts of The Naked Dawn -- Reynold Humphries14. A Grave New World: Cast and Crew on the Making of Beyond the Time Barrier -- Robert Skotak15. Invisibility and Insight: The Unerasable Trace of The Amazing Transparent Man -- Alec Charles16. An Interview with Shirley Ulmer -- Tom Weaver17. Karloff, Lugosi, Browning, and Whale -- Edgar G. Ulmer, translated by Bernd HerzengorathFilmographyIndexAbout the Contributors Considered the "King of Poverty Row," Edgar G. Ulmer (1904-1972) was an auteur of B productions. A filmmaker with an individual voice, Ulmer made independent movies before that category even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the late 1930s to his final films of the late 1950s and early 1960s, Ulmer created enduring works within the confines of economic constraints.Almost forgotten, Ulmer was rediscovered first in the 1950s by the French critics ....

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Edgar G. Ulmer, the Race Movies and the New Negro Agenda
SBORNÍK PRACÍ FILOZOFICKÉ FAKULTY BRNĚNSKÉ UNIVERZITY STUDIA MINORA FACULTATIS PHILOSOPHICAE UNIVERSITATIS BRUNENSIS S 12, 2006 — BRNO STUDIES IN ENGLISH 32 Tomáš PosPíšil MOON OVER HARLEM: EDGAR G. ULMER, THE RACE MOVIES AND THE NEW NEGRO AGENDA Acknowledgement: The unusual personality of Edgar G. Ulmer has been brought to my attention by my colleague and friend from Cologne University Bernd Her- zogenrath, who has also provided me with the dvd with the footage of this rare film. I. The following article examines Edgar G. Ulmer’s race film Moon over Harlem. It discusses this rare film in the context of Ulmer’s career but, more importantly, in the context of the phenomenon of race movies, which, in their day, provided their viewers with a much needed alternative to Hollywood’s stock representa- tions of African Americans. It also takes into account the actual situation of the Black urban population during the Great Depression and argues that the reform agenda expressed by means of its main heroes coincides with certain ideals of progressivism and the New Deal reforms and that its principal characters embody the ideal of Alain Locke’s New Negro. II. Known as one of the “king of the B’s”, Edgar G. Ulmer (1904–1972) earned his reputation as a filmmaker who could work with extremely tight budgets and still turn out interesting work with a unique personal style. Like Roger Corman after him, Ulmer could shoot movies under a week and get excellent production values for the miniscule amounts of money spent on them. Ulmer was never universally known or appreciated, yet the personal vision of his films – and the resourceful- ness with which he battled the budgetary constraints – have become legendary among filmmakers and film-buffs alike.
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6 Pairs of Lebowski
Contents Acknowledgments 6 1 An Unlikely Story 9 2 Pulp Fictions 22 3 Movies on the Cheap 38 4 In Search of Meaning 57 5 And the Sky was Grey 74 6 Detour Redux 87 Postscript: Alone in the Dark 96 Notes 98 Credits 108 Bibliography 109 DETOUR 9 1 An Unlikely Story Every day, to earn my daily bread I go to the market where lies are bought, Hopefully I take up my place among the sellers. Bertolt Brecht, ‘Hollywood’ (1942) How could a film that was shot on a girdle-tight schedule, with no big-name talent, no real sets to speak of – just a couple of dingy motel rooms, a roadside diner, a low-rent nightclub and a Lincoln convertible flooded with an abundance of rear projection – and a legendary ‘lemonade-stand budget’ ultimately attain such classic status as Edgar G. Ulmer’s Detour?1 Sure, for standard second-billing fare, the film earned some hearty praise in the industry trade papers and the popular press when it was first released the week after Thanksgiving 1945. Even so, at the time of its debut, it would have been all but unthinkable that this unvarnished, gritty little B-picture would ever make it into the celebrated pantheon of film noir, let alone into the National Film Registry of the Library of Congress. Indeed, it wasn’t for many years, decades really, that the film found its most ardent following and finally outran its fate as the bastard child of one of Hollywood’s lowliest Poverty Row studios. Humble origins Detour began its long, twisted career as a slim 1939 pulp novel by Martin Goldsmith, an aspiring New York writer still in his mid- twenties at the time of publication, who had made Hollywood his base of operation by the late 30s.
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Edgar G. Ulmer Preservation Corp
A Film by Michael Palm Austria / USA 2004 Production manager US DAGMAR HOVESTADT With James Lydon Production office Peter Marshall ANGELA LEUCHT Ann Savage John Saxon Production assistant William Schallert KERSTIN GEBELEIN Arianné Ulmer Cipes Peter Bogdanovich Sound editor Roger Corman JOHANNES KONECNY Joe Dante John Landis Dubbing mixer Wim Wenders RAINER PUSCHNER - gosh!_audio Christian Cargnelli Stefan Grissemann Producers Alexander Horwath GEORG MISCH Noah Isenberg RALPH WIESER Greg Mank ARIANNÉ ULMER CIPES Michael Omasta Tom Weaver Produced by MISCHIEF FILMS EDGAR G. ULMER PRESERVATION CORP. Directed by MICHAEL PALM Co-produced by WESTDEUTSCHER RUNDFUNK Camera JOERG BURGER Commissioning editors REINHARD WULF Sound ROLAND JOHANNES GEORG MISCH Supported by Film editors FILMFONDS WIEN MICHAEL PALM BUNDESKANZLERAMT KUNSTSEKTION MAREK KRALOVSKY LAND OBERÖSTERREICH Edgar G. Ulmer emigrated from Austria and worked on the fringes of Hollywood, where he was named “King of the B's”; forgotten and rediscovered, he became a legendary cult figure to film aficionados and “new wave” filmmakers. Edgar G. Ulmer – The Man Off-screen is the first movie about the director. Pieced together like a detective story, it is a dazzling picture of Ulmer's mysterious and moving life and work, a journey through the strange world of B-movies. In order to tell a coherent story you have to invent some things and you certainly create illusion. Arianné Ulmer Cipes A picture of Ulmer is like a cryptic police sketch, as Stefan Grissemann writes in his Ulmer biography “Mann im Schatten” (Man on the Sidelines). Separating legends from fact is difficult, but quite a fascinating challenge in making a film portrait.
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A Historical Guide to James Fenimore Cooper, Edited by Leland S. Person
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Illustrations
Illustrations 1. Siegfried Ulmer / 5 2. Henriette Ulmer / 6 3. The Ulmer children / 7 4. Edgar as a young man / 8 5. Ulmer with his host family in Sweden / 16 6. Ulmer’s calling card / 21 7. Ulmer as assistant art director at Universal / 27 8. Ulmer posing with convertible sedan on the Universal lot / 28 9. A Hollywood portrait, 1925 / 30 10. A late-Weimar double date at the lake / 38 11. Ad placed in the 1932 Film Daily Yearbook / 43 12. Ulmer, Dr. Gordon Bates, and Diane Sinclair on the set of Damaged Lives (1933) / 49 13. On the set of The Black Cat (1934) with Karloff / 59 14. Poster art for The Black Cat (1934) / 66 15. Ruth Roland in From Nine to Nine (1936) / 81 16. Shirley Ulmer as a Ukrainian extra in Natalka Poltavka (1937) / 88 17. Ulmer on the set of Fishke der krumer (1939) / 108 18. Arianné Ulmer as Yentele in Fishke der krumer (1939) / 110 ix x | Illustrations 19. Carl Gough and Ozinetta Wilcox in Moon over Harlem (1939) / 115 20. Ricardo Cortez and Jean Parker in Tomorrow We Live (1942) / 128 21. John Carradine in a publicity still from Bluebeard (1944) / 148 22. Margaret Lindsay and Nancy Coleman in Her Sister’s Secret (1946) / 163 23. Ulmer at work with his star, Hedy Lamarr, on The Strange Woman (1946) / 167 24. Tom Neal and Ann Savage in Detour (1945) / 180 25. Louis Hayward, Diana Lynn, and Zachary Scott in Ruthless (1948) / 189 26. Barbara Payton and Paul Langton in Murder Is My Beat (1955) / 199 27.
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Deutsche Biographie – Onlinefassung NDB-Artikel Ulmer, Edgar George (Georg) (Pseudonym Joen Warner)|Filmregisseur, Drehbuchautor, Kameramann, Bühnenbildner, Filmproduzent, * 17.9.1904 Olmütz (Mähren), † 30.9.1972 Woodland Hills bei Los Angeles (Kalifornien, USA), ⚰ Hollywood, Forever Cemetery. (jüdisch, 1929 evangelisch, Episcopal Church) Genealogie V →Siegfried (1876–1916 ⚔), aus O., Weingroßhändler in Wien, Sozialist; M →Henriette Edels (1882–1943, ⚭ 2] Karl Edwards, Seemann aus San Francisco), aus Wien, gelernte Operettensängerin, wanderte 1926 mit T in d. USA aus; jüngerer B Max, Kaufm. in Wien, emigrierte in d. USA, später in d. US- Army, jüngere Schw Karola (⚭ N. N. Hurnaus, Fußballspieler, Mitgl. d. österr. jüd. Ver. „Hakoah“), Schmuckhändlerin in Wien, wanderte 1926 n. New York aus, Elvira (gen. Elly) (* 1911, ⚭ N. N., Fußballspieler, Mitgl. d. österr. jüd. Ver. „Hakoah“), wanderte 1926 n. New York aus; – ⚭ 1) Mission Inn, Riverside (Kalifornien) 1926 ⚮ 1934 Josephine (Joen) D. Warner (* 1907, ev.), aus Pasadena (Kalifornien), Tänzerin, Mitgl. d. Gruppe „The Fanchonettes“, 2) New York 1935 Shirley Kassler (Ps. S[herle] Castle) (1914–2000, ⚭ 1] →Max Alexander, 1908–64, Filmproduzent, N d. Carl [Karl] →Laemmle, 1867–1939, aus Laupheim, Filmproduzent, Gründer u. Präs. d. Universal Studios in Hollywood), aus New York, Script Supervisorin, Drehbuchautorin, T d. Peter E. →Kassler (1886–1975), Bankier in New York, n. d. Börsencrash 1929 zeitweise in Kalifornien, ⚯ 1965–69 →Irmgard Kornauth (* 1928), Schausp., Sängerin; 1 T aus 1) Helen J(oen) U. Warner (* 1929, ⚭ N. N. Mitchell), aus Pasadena, 1 T aus 2) Arianné (Arden, Cole) U. (* 1937, ⚭ N. N. Cipes), aus New York, Schausp., Präs. d. Ulmer Preservation Corp. in Sherman Oaks (Los Angeles, Kalifornien) (s.
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