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Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this
under-appreciated film auteur through 21 new essays penned by a
range of scholars from around the globe. Ulmer, an immigrant to
Hollywood who fell from grace in Tinseltown after only one studio
film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts
important to Ulmer's career, such as his work at the Producers
Releasing Corporation (PRC), and his work in exploitation films and
ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an
emphasis on Detour (1945) and Murder Is My Beat (1955). Part III
covers a variety of Ulmer's individual films, ranging from
Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X
(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the
volume with a case study of The Black Cat (1934), offering three
different analyses of Ulmer's landmark horror film.
Dark-eyed and distant Alma Rubens was one of the first female stars
of the early feature film industry in the 1910s. She was a major
star by 1920, but before the decade was over her screen career was
marked and marred by cocaine abuse. She died in 1931 at age 33 - a
Hollywood beauty, a casualty of Hollywood ""snow,"" yet much more.
As an actress she was versatile, demonstrating a talent that was
ahead of its time with her gentle and subtle expressions. This book
contains Rubens's autobiography, a text titled ""This Bright World
Again"" that was serialized in a ""New York"" newspaper in 1931.
Ghost-written or not or somewhere in between, this long forgotten
document deals with Rubens's addiction and despair. In addition, a
new biography of Rubens takes the reader from her birth in San
Francisco through an impoverished upbringing, three short-lived
marriages, and her career in pictures for Triangle Film,
Cosmopolitan, Fox and other production companies. The story of her
film career mingles with a story of desperate drug addiction that
led to hospital stays, violence and deception. A filmography lists
her credits from 1913 to 1929. Appendices offer fan magazine
articles, news articles addressing her drug abuse, items on her
death and funeral, and an advertisement for her autobiography.
Despite the enormous cultural impact of Nosferatu (1922) on modern
entertainment, from cartoon parodies and collectible toys, the
history of vampires in silent cinema is largely unknown. Vampires
in Silent Cinema covers the subject from 1896-1931, reclaiming a
large array of forgotten films while adding meaningfully to horror
studies through the examination of thousands of primary sources.
Seventeen essays examine the career and films of director Stanley
Kubrick from a variety of perspectives. Part I focuses on his early
career, including his first newsreels, his photography for Look
magazine, and his earliest films (Fear and Desire, Killer's Kiss).
Part II examines his major or most popular films (Paths of Glory,
The Shining, 2001: A Space Odyssey). Part III provides a thorough
case study of Eyes Wide Shut, with four very different essays
focusing on the film's use of sound, its representation of gender,
its carnivalesque qualities, and its phenomenological nature.
Finally, Part IV discusses Kubrick's ongoing legacy and his impact
on contemporary filmmakers.
The American television commercial has an aesthetic and historical
dynamic linking it directly to cinematic and media cultures.
Consuming Images: Film Art and the American Television Commercial
establishes the complex vitality of the television commercial both
as a short film and as an art form. Through close and comparative
readings, the book examines the influence of Hollywood film styles
on the television commercial, and the resulting influence of the
television commercial on Hollywood, exploring an intertwined
aesthetic and technical relationship. Analysing key commercials
over the decades that feature new technologies and film aesthetics
that were subsequently adopted by feature filmmakers, the book
establishes the television commercial as a vital form of film art.
Through most of the 20th century, the distinction between the
fictional narrative film and the documentary was vigorously
maintained. The documentary tradition developed side by side with,
but in the shadow of, the more commercially successful feature
film. In the latter part of the century, however, the two forms
merged on occasion, and mockumentaries (fictional works in a
documentary format) and docudramas (reality-based works in a
fictional format) became part of the film and television landscape.
The 18 essays here examine the relationships between narrative
fiction films and documentary filmmaking, focusing on how each
influenced the other and how the two were merged in such diverse
films and shows as Citizen Kane, M*A*S*H, This Is Spinal Tap, and
Destination Moon. Topics include the docudrama in early cinema, the
industrial film as faux documentary, the fear evoked in 1950s
science fiction films, the selling of ?reality? in mockumentaries,
and reality television and documentary forms. The essays provide a
foundation for significant rethinking of film history and
criticism, offering the first significant discussion of two
emerging and increasingly important genres.
The Palgrave Encyclopedia of American Horror Film
Shorts chronicles for the first time over 1,500 horror and
horror-related short subjects theatrically released between 1915,
at the dawn of the feature film era when shorts became a
differentiated category of cinema, and 1976, when the last of
the horror-related shorts were distributed to movie
theaters. Individual entries feature plot synopses, cast and
crew information, and – where possible – production histories
and original critical reviews. A small number of
the short subjects catalogued herein are famous; such as
those featuring the likes of Buster Keaton, Laurel and Hardy, The
Three Stooges, Bugs Bunny, and Daffy Duck; but the bulk are
forgotten. The diverse content of these shorts includes ghosts,
devils, witches, vampires, skeletons, mad scientists, monsters,
hypnotists, gorillas, dinosaurs, and so much more, including
relevant nonfiction newsreels. Their rediscovery notably
rewrites many chapters of the history of horror cinema, from
increasing our understanding of the sheer number horror films that
were produced and viewed by audiences to shedding light on
particular subgenres and specific narrative and historical
trends.Â
One of the most important yet overlooked of Hollywood auteurs, Budd
Boetticher was responsible for a number of classic films, including
his famous 'Ranown' series of westerns starring Randolph Scott.
With influential figures like Martin Scorsese and Clint Eastwood
acknowledging Boetticher's influence, and with growing academic
interest in his work, Gary D. Rhodes and Robert Singer present a
vital collection of essays on the director's long career, from a
range of international scholars. Looking at celebrated films like
Buchanan Rides Alone (1958) and Comanche Station (1960), as well as
at lesser-known works like Escape in the Fog (1945) and Behind
Locked Doors (1948), this book also addresses Boetticher's
influential television work on the James Garner series Maverick,
and Boetticher's continuing aesthetic influence on contemporary TV
classics like Breaking Bad.
One of the most visually striking traditions in cinema, for too
long Expressionism has been a neglected critical category of
research in film history and aesthetics. The fifteen essays in this
anthology remedies this by revisiting key German films like The
Cabinet of Dr. Caligari (1920) and Nosferatu (1922), and also
provide original critical research into more obscure titles like
Nerven (1919) and The Phantom Carriage (1921), films that were
produced in the silent and early sound era in countries ranging
from France, Sweden and Hungary, to the United States and Mexico.
An innovative and wide-ranging collection, Expressionism in the
Cinema re-canonizes the classical Expressionist aesthetic,
extending the critical and historical discussion beyond
pre-existing scholarship into comparative and interdisciplinary
areas of film research that reach across national boundaries.
The Palgrave Encyclopedia of American Horror Film Shorts chronicles
for the first time over 1,500 horror and horror-related short
subjects theatrically released between 1915, at the dawn of the
feature film era when shorts became a differentiated category of
cinema, and 1976, when the last of the horror-related shorts were
distributed to movie theaters. Individual entries feature plot
synopses, cast and crew information, and - where possible -
production histories and original critical reviews. A small number
of the short subjects catalogued herein are famous; such as those
featuring the likes of Buster Keaton, Laurel and Hardy, The Three
Stooges, Bugs Bunny, and Daffy Duck; but the bulk are forgotten.
The diverse content of these shorts includes ghosts, devils,
witches, vampires, skeletons, mad scientists, monsters, hypnotists,
gorillas, dinosaurs, and so much more, including relevant
nonfiction newsreels. Their rediscovery notably rewrites many
chapters of the history of horror cinema, from increasing our
understanding of the sheer number horror films that were produced
and viewed by audiences to shedding light on particular subgenres
and specific narrative and historical trends.
Born in Oklahoma into the Chickasaw Nation, Wallace Fox directed
films over the span of four decades. Known primarily for Westerns
and mystery films, his output starred such famed actors as Bela
Lugosi, Bob Steele, and Lon Chaney. ReFocus: The Films of Wallace
Fox includes analysis of some of his best known films, including
Wild Beauty, Gun Town, The Corpse Vanishes, Bowery at Midnight,
Career Girl and Brenda Starr, Reporter. It reclaims the history and
artistry of this major talent.
The American television commercial has an aesthetic and historical
dynamic linking it directly to cinematic and media cultures.
Consuming Images: Film Art and the American Television Commercial
establishes the complex vitality of the television commercial both
as a short film and as an art form. Through close and comparative
readings, the book examines the influence of Hollywood film styles
on the television commercial, and the resulting influence of the
television commercial on Hollywood, exploring an intertwined
aesthetic and technical relationship. Analysing key commercials
over the decades that feature new technologies and film aesthetics
that were subsequently adopted by feature filmmakers, the book
establishes the television commercial as a vital form of film art.
Explains how the American horror movie came into existenceAlthough
early cinema has long been a key area of research in film studies,
the origin and development of the horror film has been a neglected
subject for what is arguably one of the world's most popular film
genres. Using thousands of primary sources and long-unseen
illustrations, 'The Birth of the American Horror Film' examines a
history that begins in colonial Salem, taking an interdisciplinary
approach to explore the influence of horror-themed literature,
theatre and visual culture in America, and how that context
established an amorphous structural foundation for films produced
between 1895 and 1915. Exhaustively researched, bridging
scholarship on Horror Studies and Early Cinema, 'The Birth of the
American Horror Film' is the first major study dedicated to this
vital but often overlooked subject.Key featuresThe first scholarly
book dedicated to the birth of the American horror filmBridges
scholarship on Horror Studies and Early CinemaExamines pre-cinema
(literature, theatre and visual culture), as well as major works in
early horror-themed cinemaSuitable for use on courses focusing on
Film History, Genre and Horror
Although early cinema has long been a key area of research in film
studies, the origin and development of the horror film has been a
neglected subject for what is arguably one of the world's most
popular film genres. Using thousands of primary sources and
long-unseen illustrations, The Birth of the American Horror Film
examines a history that begins in colonial Salem, taking an
interdisciplinary approach to explore the influence of
horror-themed literature, theatre and visual culture in America,
and how that context established an amorphous structural foundation
for films produced between 1895 and 1915. Exhaustively researched,
bridging scholarship on Horror Studies and Early Cinema, The Birth
of the American Horror Film is the first major study dedicated to
this vital but often overlooked subject.
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Offed (Paperback)
Gary D. Rhodes
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R562
Discovery Miles 5 620
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Ships in 10 - 15 working days
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