Illustrations

Total Page：16

File Type：pdf, Size：1020Kb

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. Ulmer, Jascha Heifetz, and Fritz Reiner on the set of Carnegie Hall (1947) / 208 28. Richard Ney, Gypsy Rose Lee, and Paulette Goddard in Babes in Bagdad (1952) / 225 29. Arthur Kennedy and Betta St. John in The Naked Dawn (1955) / 231 30. Shirley, Edgar, and Arianné Ulmer on the set of Beyond the Time Barrier (1960) / 253 31. The ensemble cast of The Cavern (1964), celebrating Christmas / 260 32. Ulmer in 1966 with a Madonna statuette / 266.

Copy Link

Recommended publications

Film Noir Timeline Compiled from Data from the Internet Movie Database—412 Films
Film Noir Timeline Compiled from data from The Internet Movie Database—412 films. 1927 Underworld 1944 Double Indemnity 1928 Racket, The 1944 Guest in the House 1929 Thunderbolt 1945 Leave Her to Heaven 1931 City Streets 1945 Scarlet Street 1932 Beast of the City, The 1945 Spellbound 1932 I Am a Fugitive from a Chain Gang 1945 Strange Affair of Uncle Harry, The 1934 Midnight 1945 Strange Illusion 1935 Scoundrel, The 1945 Lost Weekend, The 1935 Bordertown 1945 Woman in the Window, The 1935 Glass Key, The 1945 Mildred Pierce 1936 Fury 1945 My Name Is Julia Ross 1937 You Only Live Once 1945 Lady on a Train 1940 Letter, The 1945 Woman in the Window, The 1940 Stranger on the Third Floor 1945 Conflict 1940 City for Conquest 1945 Cornered 1940 City of Chance 1945 Danger Signal 1940 Girl in 313 1945 Detour 1941 Shanghai Gesture, The 1945 Bewitched 1941 Suspicion 1945 Escape in the Fog 1941 Maltese Falcon, The 1945 Fallen Angel 1941 Out of the Fog 1945 Apology for Murder 1941 High Sierra 1945 House on 92nd Street, The 1941 Among the Living 1945 Johnny Angel 1941 I Wake Up Screaming 1946 Shadow of a Woman 1942 Sealed Lips 1946 Shock 1942 Street of Chance 1946 So Dark the Night 1942 This Gun for Hire 1946 Somewhere in the Night 1942 Fingers at the Window 1946 Locket, The 1942 Glass Key, The 1946 Strange Love of Martha Ivers, The 1942 Grand Central Murder 1946 Strange Triangle 1942 Johnny Eager 1946 Stranger, The 1942 Journey Into Fear 1946 Suspense 1943 Shadow of a Doubt 1946 Tomorrow Is Forever 1943 Fallen Sparrow, The 1946 Undercurrent 1944 When
[Show full text]
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.
[Show full text]
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.
[Show full text]
Complete Film Noir
COMPLETE FILM NOIR (1940 thru 1965) Page 1 of 18 CONSENSUS FILM NOIR (1940 thru 1959) (1960-1965) dThe idea for a COMPLETE FILM NOIR LIST came to me when I realized that I was “wearing out” a then recently purchased copy of the Film Noir Encyclopedia, 3rd edition. My initial plan was to make just a list of the titles listed in this reference so I could better plan my film noir viewing on AMC (American Movie Classics). Realizing that this plan was going to take some keyboard time, I thought of doing a search on the Internet Movie DataBase (here after referred to as the IMDB). By using the extended search with selected criteria, I could produce a list for importing to a text editor. Since that initial list was compiled almost twenty years ago, I have added additional reference sources, marked titles released on NTSC laserdisc and NTSC Region 1 DVD formats. When a close friend complained about the length of the list as it passed 600 titles, the idea of producing a subset list of CONSENSUS FILM NOIR was born. Several years ago, a DVD producer wrote me as follows: “I'd caution you not to put too much faith in the film noir guides, since it's not as if there's some Film Noir Licensing Board that reviews films and hands out Certificates of Authenticity. The authors of those books are just people, limited by their own knowledge of and access to films for review, so guidebooks on noir are naturally weighted towards the more readily available studio pictures, like Double Indemnity or Kiss Me Deadly or The Big Sleep, since the many low-budget B noirs from indie producers or overseas have mostly fallen into obscurity.” There is truth in what the producer says, but if writers of (film noir) guides haven’t seen the films, what chance does an ordinary enthusiast have.
[Show full text]
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
[Show full text]
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.
[Show full text]
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.
[Show full text]
Time-Passages-Collective-Memory
Tfwe Passages This page intentionally left blank George Lipsitz Time ¥assa0es Collective Memory and American Popular Culture M IN University of Minnesota Press NE Minneapolis SO TA London Copyright © 1990 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South.Suite 290, Minneapolis, MN 55401-2520 http://www.upress.umn.edu Printed in the United States of America on acid-free paper Seventh printing 2001 Library of Congress Cataloging-in-Publication Data Lipsitz, George. Time passages : collective memory and American popular culture / George Lipsitz. p. cm. Includes bibliographical references. ISBN 0-8166-3881-0 (pbk.) 1. United States—Popular culture—History—20th century. 2. Mass media—United States—Social aspects. 3. Memory—Social aspects— United States—History—20th century. I.Title. E169.12.L55 1989 973.9-dc20 89-5209 The University of Minnesota is an equal-opportunity educator and employer. Contents Preface vii Culture and History Chapter 1 Popular Culture: This Ain't No Sideshow 3 Chapter 2 Precious and Communicable: History in an Age of Popular Culture 21 Popular Television Chapter 3 The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television 39 Chapter 4 Why Remember Mama? The Changing Face of a
[Show full text]
A Historical Guide to James Fenimore Cooper, Edited by Leland S. Person
Book Reviews A Historical Guide to James Fenimore Cooper, edited by Leland S. Person. New York: Oxford University Press, 2007. 249 p. ISBN 978-0-19-517313-0. So James Fenimore Cooper has finally been admitted to the Oxford club. Oxford Historical Guides is a series that offers an alternative to the famous Cambridge Companions to individual writers, with the ambition to be “an interdisciplinary, historically sensitive series” with a special focus on authors “with a strong sense of time, place, and history,” as we read on the back cover. After Hemingway, Whitman, Emerson, Hawthorne, Poe, Thoreau, Twain, Wharton, Hughes, Dickinson, Ellison, Fitzgerald, and Melville comes Cooper’s turn. This is a fair deal, as his cultural influence reaches further than even many readers familiar with Cooper are ready to imagine. Leland S. Person, an author of several essays on Cooper (though his main field seems to be Hawthorne, Melville, and James) wrote the introduction. Wayne Franklin, one of the renowned Cooper scholars, contributed a biography. The body of the volume consists of essays by John McWilliams, J. Gerald Kennedy, Dana D. Nelson, Barbara Alice Mann, and the final, bibliographical essay is the work of Jeffrey Walker. Out of those, only McWilliams and Walker could be regarded as unquestionably Cooper scholars. Kennedy is mainly a Poe scholar, Mann a Native American history specialist, and Nelson is an expert in the field of race studies. All in all, Cooper scholars are a minority here. Let us see if it works for the better. It is to be understood that the book is aimed at a wider audience than Cooper scholars and readers.
[Show full text]
Film Reviews
9'11"01 (September 11) Dir: Various, UK/France/Bosnia-Herzegovina/Egypt/Israel/Japan, 2002 A review by Elizabeth Rosen, University College London, UK Part of the shock of the events of September 11, 2001 was in the witnessing of them. Never before had an act of mass murder been instantaneously relayed across the world through the modern media. The immediacy which marks our contemporary media meant that the entire world could, and did, watch the destruction of the World Trade Centre in real time. And it is in large part due to the mass media -- which had been beaming images of the iconic towers around the world for years -- that so many people outside the U.S. felt a kinship horror when the towers came down. It's easy for Americans, who have sometimes been insular as a nation, to believe that the pain which accompanied these insidious attacks is unique in quality and quantity. But there is an antidote for that solipsism, and French television producer Alain Brigand has provided it with his omnibus film 9'11"01. Brigand gave money to eleven film directors from eleven different countries and asked them each to make a film about September 11th. Each film was to last eleven minutes, nine seconds, plus one frame. All the directors had to agree not to incite bigotry, but were given total freedom of expression otherwise. The results, for the most part, are quite successful. The stories here range from the personal to the political, the devastating to the comedic. Brigand makes a shrewd choice in opening with Iranian director Samira Makhmalbaf's contribution.
[Show full text]
The Films of Edgar G. Ulmer the Films of Edgar G
[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.
[Show full text]
Noah Isenberg
Noah Isenberg Department of Radio-TV-Film 1013 Shelley Avenue The University of Texas at Austin Austin, TX 78703-4838 2504 Whitis Ave. Stop A0800 Mobile: 917.689.6453 Austin, TX 78712-1067 www.noahisenberg.com Email: [email protected] Twitter: @NoahIsenberg EDUCATION Ph.D. German Studies, University of California at Berkeley, 1995 M.A. German Literature, University of Washington, 1991 B.A. European History, University of Pennsylvania, 1989 Ludwig-Maximilians-Universität, Munich, Germany, 1987-88 ACADEMIC APPOINTMENTS George Christian Centennial Professor, University of Texas at Austin, 2019-present Professor of Culture and Media, Eugene Lang College of Liberal Arts, 2013-2018 Visiting Professor of Cinema Studies, University of Pennsylvania, Spring 2017 Visiting Professor, Dartmouth College, Summer 2013, 2014, 2016, 2017 Associate Professor of Culture and Media, Eugene Lang College, 2007-2013 Associate Professor of University Humanities, The New School, 2004-2007 Visiting Professor of German, University of Pennsylvania, Fall 2005 Associate Professor of German Studies, Wesleyan University, 2001-2004 Assistant Professor of German Studies, Wesleyan University, 1995-2001 ACADEMIC ADMINISTRATION Chair of the Department of Radio-TV-Film, University of Texas at Austin, 2019-present Founding Director of Screen Studies, Eugene Lang College, 2010-2018 Chair of the Department of Culture and Media, Eugene Lang College, 2013-2015 Co-Chair of the Department of Literary Studies, Eugene Lang College, 2007-2008 Chair of Humanities, The New
[Show full text]