A short history of film 9780813542706, 9780813542690, 9780813544755

Table of contents :
Frontmatter
Acknowledgments (page ix)
Timeline 1832-2007 (page xi)
ONE The Invention of the Movies (page 1)
TWO The Birth of an American Industry (page 22)
THREE World Cinema: The Silent Era (page 53)
FOUR The Hollywood Studio System in the 1930s and 1940s (page 89)
FIVE International Cinema through World War II (page 137)
SIX Postwar Challenges to the Movies (page 168)
SEVEN World Cinema in the 1950s (page 203)
EIGHT The 1960s Explosion (page 239)
NINE World Cinema 1970 to the Present (page 302)
TEN The New Hollywood (page 351)
Glossary of Film Terms (page 385)
Bibliography (page 389)
Index (page 411)

Citation preview

BLANK PAGE

WHEELER WINSTON DIXON & GWENDOLYN AUDREY FOSTER

NEW BRUNSWICK, NEW JERSEY

Fourth paperback printing, 2009

Library of Congress Cataloging-in-Publication Data

Dixon, Wheeler W., 1950- |

. p. cm.

A short history of film / Wheeler Winston Dixon and Gwendolyn Audrey Foster.

Includes bibliographical references and index.

ISBN 978-0-8135-4269-0 (hardcover : alk. paper)—ISBN 978-0-8135—4270-6 (pbk. : alk. paper)

1. Motion pictures—History. 2. Motion picture industry—History.

I. Foster, Gwendolyn Audrey. Il. Title. PN1993.5.A1D53 2008

791.43'7—dc22

2007022097

All rights reserved |

Copyright © 2008 by Wheeler Winston Dixon and Gwendolyn Audrey Foster

No part of this book may be reproduced or utilized in any form or by any means, electronic or me-

chanical, or by any information storage and retrieval system, without written permission from the | , } publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854-8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law.

Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America

To the filmmakers, | historians, and critics of the twenty-first century

BLANK PAGE |

Acknowledgments ix Timeline 1832-2007 xi

ONE

The Invention of the Movies 1 Two

The Birth of an American Industry 22 THREE

World Cinema: The Silent Era 53 FOUR

The Hollywood Studio System in the 1930s and 1940s 89 FIVE

International Cinema through World War II 137 SIX

Postwar Challenges to the Movies 168 SEVEN

World Cinema in the 1950s 203 EIGHT

The 1960s Explosion 239 NINE

World Cinema 1970 to the Present 302 TEN

The New Hollywood 351

Glossary of Film Terms 385 | Bibliography 389

| Index 411

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Our first thanks go to Leslie Mitchner of Rutgers University Press for commissioning this volume and believing in it from the outset. We also give our deepest thanks to Dana Miller for a superb typing job; to Jerry Ohlinger for the many stills that grace this volume; to Michael Andersen for his assistance

with the bibliography; to Dennis Coleman for help in research; to Virginia | Clark for tirelessly checking facts and copyediting the first draft; to Eric

Schramm for an excellent job of copyediting subsequent drafts; and to | David Sterritt for a thorough and meticulous reading of the final text. We would also like to thank our many colleagues in the Department of English at the University of Nebraska, Lincoln, and our chair, Joy Ritchie, for help and support in creating this work. For their many invaluable insights, we would like to thank our friends and companions over the years, too numerous to mention here, who first saw these films with us; the discussions

we have had with our colleagues in film studies at other universities are surely reflected in this text as well. Finally, we thank the University of Nebraska Research Council for a Maude Hammond Fling Research Fellowship that aided us considerably in the completion of this book. We wish to note that the material incorporated in this text on Dorothy Arzner, Jean Cocteau, Daniéle Huillet, Jean Renoir, and Jean-Marie Straub, written by Wheeler Winston Dixon, originally appeared in The Encyclopedia of Film, edited by James Monaco and James Pallot (New York: Perigee/Putnam, 1991), provided by Baseline StudioSystems. The material on Chantal

Akerman, Dorothy Arzner, Jacqueline Audry, Joy Batchelor, Kathryn Bigelow, Muriel Box, Vera Chytilova, Julie Dash, and Doris DG6rrie, written by Gwendolyn Audrey Foster, from Women Film Directors: An International Bio-Critical Dictionary, is reproduced with permission of Greenwood Pub-

lishing Group, Westport, Connecticut. This material has been significantly revised for its inclusion here.

| BLANK PAGE ,

1832 The Phenakistoscope, a spinning wheel with an image at its center | that seems to move, is invented by Joseph Plateau in Belgium.

1834 William Horner refines Plateau’s Phenakistoscope into the Zoetrope. 1872 Edweard Muybridge shoots his famous Series of still images of a horse

in motion to settle a bet; when viewed in sequence, the stills form a , primitive movie. 1873 ~=Alice Guy, the first woman film director, is born in France.

1880 China and the United States sign a trade and immigration treaty.

1881 U.S. President James Garfield is assassinated. Fyodor Dostoevsky dies.

Czar Alexander II of Russia is assassinated. 1882 Etienne-jules Marey invents his “shotgun” camera. Britain invades Egypt. Birth of director Lois Weber.

1883 The French Impressionist painter Edouard Manet dies. , The Brooklyn Bridge opens.

The birth of the U.S. Navy, with the construction of three battleships.

1884 Belgium opens the Congo to free trade, under the colonial rule of King Leopold. Birth of African American filmmaker Oscar Micheaux.

1885 Germany colonizes Tanzania and Togoland. 1886 _ British film pioneer William Friese-Greene begins work on a motion picture camera and projector.

TIMELINE: 1832-2006 | 1887 War breaks out between Ethiopia and Italy. President Grover Cleveland signs the Interstate Commerce Act, regulating railroads. Celluloid nitrate film is invented.

1888 Inventor Louis Aimé Augustin Le Prince shoots a short film of traffic on a bridge in Leeds, England; the film is probably the first movie ever shot and then shown to the public. George Eastman produces the first lightweight camera and trademarks the Kodak name. Anita Loos, American screenwriter, is born.

1889 The Oklahoma Land Rush. |

bursts. :

The Johnstown Flood in Pennsylvania kills 2,000 people when a dam George Eastman manufactures celluloid roll film. 1890 ~=— William Kennedy Laurie Dickson builds the first modern movie camera, the Kinetograph, under instructions from Thomas Alva Edison.

, 1893. 3=©Mary Pickford, silent screen star, is born. 1894 Thomas Edison shoots Fred Ott’s Sneeze in his Black Maria. The first Kinetoscope parlor opens in New York.

1895 Auguste and Louis Lumiére hold the first public screening of their films. 1896 = Alice Guy directs her first film, The Cabbage Patch Fairy. Thomas Edison shoots The Kiss, the first kiss in screen history.

1898 Alice Guy shoots primitive sound films in France using the Chronophone process. The first films are shot in Japan. 1900 3=Max Planck formulates quantum theory.

xii ,

Kodak introduces the Brownie camera. The Boxer Rebellion in China.

Sigmund Freud publishes The Interpretation of Dreams. The hamburger is invented.

TIMELINE: 1832-2006

1901 Queen Victoria dies. The first transatlantic radio signal. Walt Disney is born.

The first Nobel Prizes are awarded.

becomes president.

U.S. President William McKinley is assassinated; Theodore Roosevelt

1902 ~=—Director William Wyler is born.

Mount Pelée erupts in Martinique. The Boer War ends.

The teddy bear is introduced, in homage to Theodore Roosevelt. Georges Méliés has a hit with his special effects extravaganza A Trip to the Moon. 1903 = The Wright brothers make their first airplane flight at Kitty Hawk, North Carolina.

The ice cream cone is patented. Plague strikes India. The first World Series is played. The Great Train Robbery is filmed by director Edwin S. Porter. U.S. film production is centered in New York and New Jersey.

1904 The Russo-Japanese War begins. The milkshake mixer is invented.

Construction starts on the Panama Canal. The Trans-Siberian Railway is completed. The New York City subway opens.

1905 Actress Greta Garbo is born. , First U.S. pizza parlor opens. Einstein proposes the Special Theory of Relativity. “Bloody Sunday” in the Russian Revolution of 1905.

Cecil Hepworth produces and directs Rescued by Rover in England.

xiii

TIMELINE: 1832-2006

1906 Upton Sinclair writes The Jungle, exposing conditions in meatpacking plants.

San Francisco earthquake occurs. _ The Biograph Film Studio opens in New York. Edwin S. Porter directs the trick fantasy film Dream of a Rarebit Fiend. Elvira Notari, Italy’s first woman director, begins making films. 1907. ~=~ Pablo Picasso introduces Cubism.

First electric washing machine. Rules of war established at the Second Hague Peace Conference.

director D. W. Griffith. the United States. | Edwin S. Porter directs Rescued from an Eagle’s Nest, starring future

1908 There are more than 8,000 nickelodeon movie theaters nationwide in

long as it’s black.” ,

Ford introduces the Model-T automobile, in “any color you want, so Earthquake in Italy kills 150,000.

, Thomas Edison forms “The Trust” to monopolize motion pictures. D. W. Griffith directs his first one-reel film, The Adventures of Dollie. 1909 ~=The NAACP is founded.

Japan’s Prince Ito is assassinated. Plastic is invented.

There are 9,000 movie theaters in the United States. 35 mm becomes the internationally recognized theatrical film gauge.

1910 The Boy Scouts are established in the United States. Thomas Edison presents his own sound film process, the Kinetophone.

| Florence Lawrence becomes the first real movie star for IMP as a result of Carl Laemmle’s publicity campaign. D. W. Griffith shoots /n Old California in Hollywood; the move west has begun.

XIV

TIMELINE: 1832-2006 Alice Guy founds Solax, her production company, after moving to the United States. The first African American film production company, William Foster’s Foster Photoplay Company, opens its doors in Chicago.

1911 The Chinese Revolution. Standard Oil Company is broken up. Roald Amundsen reaches the South Pole.

The Incan City of Machu Picchu is discovered. Ernest Rutherford discovers the structure of an atom. 1912 _~—s The Titanic sinks.

SOS is accepted as the universal distress signal. The birth of Photoplay, the first movie “fan” magazine. Carl Laemmle forms Universal Pictures Company out of his IMP company and other, smaller companies in a merger.

Mack Sennett sets up shop as the Keystone Film Company and begins making slapstick comedies.

1913 ~The zipper is invented. Henry Ford creates the assembly line.

Personal income tax is introduced in the United States.

First crossword puzzle is published.

The Los Angeles Owens Valley Aqueduct is opened.

1914 Archduke Ferdinand is assassinated; World War | begins. The Panama Canal officially opens. Cecil B. DeMille’s The Squaw Man is the first Hollywood feature film.

Charlie Chaplin’s tramp character first appears in Kid Auto Races at Venice.

Lois Weber’s feature-length parable The Hypocrites opens. 1915 ~_~—sSOB$B. W... Griffith’s The Birth of a Nation is released.

Germans use poison gas as a weapon.

XV

TIMELINE: 1832-2006 Theda Bara, one of the movies’ first “vamps,” stars in A Fool There Was.

Louis Feuillade directs the epic French crime serial The Vampires.

The Technicolor Corporation opens for business. _ | 1916 _—_ Easter Rising in Ireland. Battle of Verdun.

Battle of the Somme.

The first self-service grocery store opens in the United States. Lois Weber’s film on abortion, Where Are My Children? opens to great

controversy. | 1917. ~—- Russian Revolution.

The United States enters World War I. |

film studio, is founded.

The Lincoln Motion Picture Company, a pioneering African American John Ford directs his first film, The Tornado.

UFA, the giant German film studio, opens its doors.

1918 Influenza epidemic. Daylight Savings Time is introduced. , Russian Czar Nicholas II and his family are killed.

The U.S. Supreme Court orders the Edison “Trust” to dissolve.

1919 — Prohibition begins in the United States.

Treaty of Versailles ends World War I. Walt Disney and Ub Iwerks join forces as an animation team to make

cartoons. ,

Robert Wiene directs the classic horror film The Cabinet of Dr. Caligari in Germany.

xvi .

Oscar Micheaux directs his feature-length Within Our Gates. 1920 ~=— The Harlem Renaissance begins.

The first commercial radio broadcast is aired.

Women are granted the right to vote in the United States.

| TIMELINE: 1832-2006 Charlie Chaplin, Douglas Fairbanks, D. W. Griffith, and Mary Pickford form United Artists.

Alice Guy directs her 248th and final film, the feature length

, Tarnished Reputations.

1921 ~=—s*@The Irish free state is proclaimed. , Rudolph Valentino stars in the steamy romantic melodrama The Sheik. Comedian Roscoe “Fatty” Arbuckle is arrested for rape and murder; he

is later acquitted, but the scandal rocks Hollywood. | Lois Weber’s The Blot, a plea for social tolerance, opens.

1922 Kemal Atatiirk founds modern Turkey.

Reader’s Digest begins publication. , Robert Flaherty completes the pioneering documentary Nanook of the North. F. W. Murnau directs the classic vampire film Nosferatu in Germany.

Rin Tin Tin becomes an animal star, predating Lassie by several decades.

1923 #Jime magazine is founded. The Charleston becomes popular on American dance floors.

Lee de Forest demonstrates Phonofilm, his sound-on-film process, which will eventually become the industry standard. Cecil B. DeMille directs his first version of The Ten Commandments. Kenji Mizoguchi directs his first film, Resurrection of Love, in Japan.

1924 = The first Olympic winter games.

J. Edgar Hoover is appointed as FBI director. , The Leopold and Loeb murder case.

tally cut version. , | Erich von Stroheim completes his epic film Greed, released in a bru-

Sam Goldwyn, Louis B. Mayer, and the Metro Pictures Corporation cre-

ate MGM. 1925 Adolf Hitler publishes Mein Kampf.

| xvii

The Scopes monkey trial puts the theory of evolution in the public eye.

TIMELINE: 1832-2006 | Universal releases Phantom of the Opera with Lon Chaney Sr., “The

, Man of 1,000 Faces.” ,

Sergei Eisenstein directs Battleship Potemkin in Russia.

Charles Chaplin writes, stars in, directs, and produces the classic comedy The Gold Rush.

1926 §=A.A. Milne publishes Winnie-the-Pooh. Magician Harry Houdini dies.

Robert Goddard fires his first liquid-fuel rocket. Warner Bros. debuts the film Don Juan with synchronized sound effects and music. Death of screen romantic idol Rudolph Valentino.

1927. Charles Lindbergh flies solo across the Atlantic. The British Broadcasting Company (BBC) is founded.

The Jazz Singer is the first widely screened feature film with talking sequences interspersed into an otherwise silent film.

Abel Gance completes his first version of his epic film Napoleon. The Academy of Motion Picture Arts and Sciences is founded. | 1928 The first Oxford English Dictionary is published. Bubble gum is invented. Mickey Mouse makes his screen debut in the short cartoon film Plane Crazy.

Bros. gangster film. , The Lights of New York is the first all-talking film, and the first Warner

_ Germaine Dulac directs the Surrealist classic The Seashell and the Clergyman.

1929 ~=— The stock market crashes; the Great Depression begins.

Car radios are introduced.

| The first Academy Awards ceremony is held. Dziga Vertov’s Man with a Movie Camera is an early example of hyperedited Soviet cinema. Dorothy Arzner directs The Wild Party, about “Jazz Age” youth.

XVill

TIMELINE: 1832-2006 1930 ~=— Sliced bread is first available.

Josef Stalin begins collective farming in the Soviet Union.

Pluto is discovered and designated a planet. Silent star Greta Garbo successfully graduates to “talkies” in Anna Christie. René Clair’s Under the Roofs of Paris is an early musical hit.

1931 Al Capone is imprisoned for income tax evasion.

The Empire State Building is completed. The Scottsboro Boys are accused of rape. Fritz Lang directs the suspense thriller M, starring Peter Lorre.

Bela Lugosi stars in the horror film Dracula. : , 1932 ~Franklin Delano Roosevelt is elected president of the United States. Air conditioning is invented. The Lindberghs’ baby is kidnapped.

color process. a

Walt Disney shoots Flowers and Trees in the new three-strip TechniJean Renoir directs Boudu Saved from Drowning.

school.

1933 Adolf Hitler becomes chancellor of Germany. Prohibition ends in the United States.

Fred Astaire and Ginger Rogers are teamed for the first time in Flying

Down to Rio.

Jean Vigo directs Zero for Conduct, about rebellion at a French boys’ , The British Film Institute, now one of the world’s largest film archives,

opens.

1934 +The Dust Bowl. The outlaws Bonnie and Clyde are killed in an ambush.

The first cheeseburger is created. Mao Tse-tung begins the Long March. Leni Riefenstahl directs the Nazi propaganda film Triumph of the Will.

XIX

TIMELINE: 1832-2006

1935 Germany issues the anti-Jewish Nuremberg laws. , Social Security is enacted in the United States. |

Alcoholics Anonymous is founded. ) | Rouben Mamoulian’s Becky Sharp is the first feature film shot in three-strip Technicolor. The Museum of Modern Art Film Library opens.

1936 Hoover Dam is completed. King Edward VIII abdicates the British throne for “the woman | love,” American Wallis Warfield Simpson.

The Spanish Civil War begins. | The Cinémathéque Francaise, one of the world’s great film archives, is founded.

Dorothy Arzner directs Craig’s Wife. , 1937. ~The Golden Gate Bridge opens. Japan invades China. Amelia Earhart vanishes during a flight.

, The Trail of the Lonesome Pine becomes the first Technicolor film shot entirely on location.

Disney creates the first feature-length animated cartoon, Snow White

and the Seven Dwarfs.

1938 Nazi Germany takes over Austria without firing a shot. British prime minister Neville Chamberlain announces “peace in our time.” Georges Méliés dies. “The Night of Broken Glass” (Kristallnacht) in Germany.

Sergei Eisenstein directs the epic Alexander Nevsky. , 1939 World War Il begins in Europe. The first commercial flight over the Atlantic.

The German-Soviet non-aggression pact is signed. Gone with the Wind, The Wizard of Oz, Ninotchka, Mr. Smith Goes to Washington, Stagecoach, and Dark Victory are all released in one of

Hollywood’s peak years. | XX

TIMELINE: 1832—2006

Jean Renoir directs his masterpiece comedy of manners, Rules of the Game.

1940 Leon Trotsky is assassinated in Mexico by agents of Stalin. Nylons are introduced. The Battle of Britain.

John Ford directs The Grapes of Wrath, based on John Steinbeck’s

novel. ,

Animator Joy Batchelor founds Halas and Batchelor, Britain’s biggest animation house, with her husband John Halas.

1941 The Manhattan Project commences work on an atomic bomb.

The Japanese attack Pearl Harbor; United States enters World War Il. | Mount Rushmore is completed. John Huston directs his first film, the crime classic The Maltese Falcon. Humphrey Jennings directs the wartime documentary Listen to Britain.

1942 ~—‘ The Battle of Stalingrad. | The T-shirt is introduced.

Japanese Americans are held in internment camps in the United States.

The Battle of Midway. |

Actress Carole Lombard is killed in a plane crash. 1943 ~~‘ French Resistance leader Jean Moulin is killed.

, The Warsaw Ghetto uprising. | | Sergei Eisenstein publishes Film Sense, one of the first key books of film theory.

Dorothy Arzner directs her last film, First Comes Courage. , Maya Deren co-directs the classic American experimental film Meshes of the Afternoon with Alexander Hammid.

1944 D-Day; the Allies invade German-occupied France. ,

Ballpoint pens go on sale. | First German V1 and V2 rockets are fired.

The De Havilland decision marks the end of the “endless” seven-year

XXi

TIMELINE: 1832-2006 contract, in which studios tack on “suspension” periods to the length of a contract. Otto Preminger directs the murder mystery Laura. 1945 ~=Hitler commits suicide; Germany surrenders. The United States drops atomic bombs on Japan; World War Il ends. The microwave oven is invented.

Roberto Rossellini releases Open City in Italy, generally regarded as the first Neorealist film. Marcel Carné’s French Resistance masterpiece The Children of Par-

Care. ,

adise.

1946 The Nuremberg war crimes trials.

Dr. Benjamin Spock publishes The Common Book of Baby and Child

The Cannes Film Festival debuts. |

William Wyler directs the classic “coming home” film, The Best Years of Our Lives.

Jean Cocteau directs Beauty and the Beast in newly liberated France.

1947 ~The Dead Sea Scrolls are discovered.

The Polaroid camera ts invented. | Jewish refugees aboard the Exodus are turned away by England. Jackie Robinson breaks Major League Baseball’s color ban, signing

with the Brooklyn Dodgers. |

The House Un-American Activities Committee subpoenas its first wave of witnesses in an investigation of Communist infiltration in Hollywood.

1948 Mahatma Gandhi is assassinated. The State of Israel is founded.

The big bang theory is formulated. , The Paramount decree requires the major movie studios to sell off their theater chains.

, XXHI , Vittorio De Sica’s The Bicycle Thief is another key Neorealist film.

TIMELINE: 1832-2006

1949 George Orwell publishes Nineteen Eighty-four. The seven-inch 45 rpm single record is introduced. The Soviet Union gets the atomic bomb. China becomes a Communist nation.

The Road Runner and Wile E. Coyote make their screen debuts in Fast and Furry-ous.

1950 ~The Korean War begins. Joseph McCarthy conducts investigations into Communist influence in the U.S. government.

The first Peanuts cartoon strip is published.

Screenwriters John Howard Lawson and Dalton Trumbo are sent to jail |

for contempt of Congress.

Robert Rossen’s All the King’s Men chronicles the life of a politician with dictatorial ambitions, from Robert Penn Warren’s novel, modeled

after Louisiana’s Huey P. Long.

1951 South Africans are required to carry cards identifying their race. Color television is introduced. Winston Churchill is reelected prime minister of Great Britain after several years out of office. Jackson Pollock’s “drip” paintings are shown.

André Bazin establishes the journal Cahiers du Cinéma in France, and , the auteur theory is born. 1952. ~—« The polio vaccine is created. ©

Car seat belts are introduced.

Princess Elizabeth becomes queen of England at age twenty-five. , Bwana Devil, the first 3-D film, is released; the 3-D film craze begins.

The first Cinerama film is shown to the public.

1953 DNAis discovered. | Julius and Ethel Rosenberg are executed in the United States for espionage. Henri-Georges Clouzot directs the suspense thriller The Wages of Fear.

Xxill

TIMELINE: 1832-2006 Ida Lupino directs the drama The Hitch-Hiker, her most successful film as director. Yasujiro Ozu directs his masterly film of modern Japanese life, Tokyo Story.

1954 ~=iThe first hydrogen bomb is detonated. _ Roger Bannister breaks the four-minute mile. The landmark U.S. Supreme Court decision, Brown vs. Board of Educa-

tion, on segregated schools. , Federico Fellini directs the classic Italian film La Strada.

Godzilla makes his screen debut. Agnes Varda directs La Pointe Courte.

1955 James Dean is killed in a car crash. Disneyland opens. Rosa Parks refuses to give up her seat on a bus in Montgomery, Alabama. The Warsaw Pact is signed. Blackboard Jungle uses Bill Haley’s “Rock Around the Clock” over the

credits, the first use of rock ’n’ roll in a Hollywood film. 1956 Elvis Presley appears on “The Ed Sullivan Show.”

| Grace Kelly marries Prince Rainier Ill of Monaco.

The Hungarian Revolution. ,

The Suez Crisis. | |

Videotape becomes a staple of television production. 1957. ~—«ODrr. Seuss publishes The Cat in the Hat.

The Soviet satellite Sputnik is launched. The U.S. surgeon general reports a link between smoking and lung cancer. Roger Vadim’s And God Created Woman brings a new level of sexuality

to the screen.

Ingmar Bergman directs his allegorical film about life and death, The Seventh Seal.

XXIV :

TIMELINE: 1832—2006

1958 Hula hoops become popular. Chinese leader Mao Tse-tung launches the “Great Leap Forward.” Orson Welles’s Touch of Evil and Alfred Hitchcock’s Vertigo open

within a month of each other. Andrzej Wajda’s thriller Ashes and Diamonds electrifies Polish youth.

Satyajit Ray directs Pather Panchali, an uncompromising look at , poverty in India. 1959 ~—sWéidlel Castro becomes dictator of Cuba.

Alaska and Hawaii become the forty-ninth and fiftieth states.

An international treaty makes Antarctica a scientific preserve. | The “kitchen debate” between Vice President Richard Nixon and Soviet Premier Nikita Khrushchev.

, The French New Wave bursts onto the screen with Francois Truffaut’s | The 4oo Blows and Jean-Luc Godard’s Breathless. 1960 ___ The first televised U.S. presidential debates, between Richard Nixon and John F. Kennedy. Alfred Hitchcock’s Psycho is released.

Dalton Trumbo receives screen credit for writing the script to Otto Pre- , minger’s Exodus, signaling the end of the HUAC blacklist.

Federico Fellini directs his epic film about modern decadence in Rome, La Dolce vita.

Roger Corman directs the original Little Shop of Horrors, featuring a | young Jack Nicholson. 1961 _ ~—sSWrFrirst U.S. troops are sent to Vietnam.

The Soviets launch the first man into space. , | The Bay of Pigs invasion. The Berlin Wall goes up.

Alain Resnais directs Last Year at Marienbad, a hallucinatory film about time and memory.

1962 The Cuban missile crisis. | Andy Warhol exhibits his first Campbell’s soup can paintings.

XXV

TIMELINE: 1832-2006 Telstar, the first communications satellite in orbit, is launched, relaying television pictures from the United States to France and England. Dr. No is the first James Bond movie.

More than 700 foreign films are released in U.S. theaters. 1963 ~—~«*Federal legislation mandates equal pay for women.

President John F. Kennedy is assassinated; Vice President Lyndon Johnson is sworn in. Betty Friedan publishes The Feminine Mystique. Martin Luther King Jr. delivers his “I Have a Dream” speech in Washington, D.C. Shirley Clarke directs her drama of African American life, The Cool World, in Harlem.

1964 Nelson Mandela is sentenced to life in prison in South Africa. The Beatles come to the United States. Martin Luther King receives the Nobel Peace Prize. Sidney Poitier becomes the first African American to win the Academy Award for Best Actor. Stanley Kubrick’s nightmare comedy, Dr. Strangelove or: How | Learned to Stop Worrying and Love the Bomb. 1965 _ __—iThe first space walk, on the Gemini 4 mission.

The New York City blackout.

The United States sends 3,500 troops to Vietnam.

Japan’s bullet train opens.

Malcolm X is assassinated in New York. |

1966 Mao Tse-tung launches the Cultural Revolution. The Black Panther Party is established. “Star Trek” television series premieres. The Motion Picture Production Code considerably relaxes as the result of such films as Mike Nichols’s Who’s Afraid of Virginia Woolf? and Michelangelo Antonioni’s Blow-Up. Ousmane Sembéne directs Black Girl, the first indigenous African feature film.

XXVI

TIMELINE: 1832-2006

1967 The United States and Soviet Union sign a space demilitarization 7 | treaty.

The Six Day War in the Middle East. | Sony introduces a low-cost black-and-white home video recorder, The PortaPak.

collapse, Weekend. ,

Jean-Luc Godard releases his apocalyptic vision of modern society in | Roger Corman’s The Trip is the first Hollywood film to deal with psy-

chedelic drugs. 1968 ‘The death of the pioneering woman film director, Alice Guy, goes un-

noticed by the general press. ,

The Tet Offensive; the death toll of U.S. soldiers killed in the Vietnam | War passes 30,000. Martin Luther King Jr. and Robert F. Kennedy are assassinated roughly a month apart.

Russian tanks put down the “Prague Spring” in Czechoslovakia. | The Motion Picture Association of America develops a new rating system.

1969 Charles Manson is arrested for the murder of actress Sharon Tate, the wife of director Roman Polanski, and four others in Los Angeles. The concert at Woodstock draws 400,000 people for three days of music. Neil Armstrong becomes the first man on the moon.

Sony introduces the videocassette recorder for home use. Sam Peckinpah’s The Wild Bunch brings a new level of violence to

the screen.

1970 Computer floppy disks are introduced. Singer Janis Joplin and rock guitarist Jimi Hendrix die.

Earth Day is observed for the first time. The Beatles break up. Four students protesting the Vietnam War are killed by National Guard troops at Kent State.

XXVil

TIMELINE: 1832-2006

1971 “Allin the Family” debuts on television. Video cassette recorders are introduced. The Pentagon Papers are published in the New York Times. The United Kingdom changes to the decimal system for currency. Computer Space is the first video arcade game.

1972 Ms. magazine debuts. Break-in at the Democratic National Committee headquarters in the Watergate office complex. “Blaxploitation” films such as Hit Man and Blacula become popular. Deep Throat brings X-rated pornography to regular movie houses. Magnavox introduces Odyssey, the first home video game system; Atari is founded.

1973 Skylab is launched. Abortion is legalized in the United States. Sears Tower, the tallest building in the world, is built in Chicago. Fritz the Cat is the first X-rated feature-length animated cartoon. George Lucas directs American Graffiti.

| 1974 Dancer Mikhail Baryshnikov defects from the Soviet Union. Haile Selassie, emperor of Ethiopia, is deposed. President Richard Nixon resigns due to the Watergate scandal. Patty Hearst is kidnapped. Roman Polanski’s Chinatown is released. 1975 —_— Pol Pot becomes the Communist dictator of Cambodia.

Civil War in Lebanon.

Jaws premieres and becomes the model for the modern movie blockbuster. Robert Altman directs the quirky, multi-character film Nashville. Sony introduces Betamax video recorders for home use. 1976 ~=©North and South Vietnam join to form the Socialist Republic of Vietnam. XXVill

TIMELINE: 1832-2006 VHS home video recording is introduced; it will soon eclipse the Betamax format. Premiere of Barbara Kopple’s documentary Harlan County U.S.A., about a strike at a Kentucky coal mine.

Director Bernardo Bertolucci’s 1900, a tale of political turmoil, is released.

1977. + Themini-series “Roots” airs on television. South African anti-apartheid leader Steve Biko is tortured to death. , George Lucas’s Star Wars is released. John Badham’s Saturday Night Fever is a huge hit, signaling the dominance of disco music. Steven Spielberg releases Close Encounters of the Third Kind.

1978 “Mork and Mindy” debuts on television, making an instant star of Robin Williams.

The world’s first test-tube baby is born in England. ; Jim Jones and more than 900 followers commit mass Suicide at “Jonestown” in Guyana. Karol Jozef Wojtyla, from Poland, becomes Pope John Paul Il.

John Carpenter’s Halloween starts a horror movie franchise.

1979 Sony introduces the Walkman. | Ayatollah Khomeini becomes leader of Iran; revolutionaries take American hostages in Tehran. Mother Teresa is awarded the Nobel Peace Prize.

The China Syndrome, about the dangers of nuclear reactors, opens just before the Three Mile Island accident in Pennsylvania. The Australian cinema comes roaring back to prominence with Mad Max, starring Mel Gibson. 1980 _ _—C.S.. rescue attempt to save hostages in Tehran fails. The Rubik’s Cube craze.

Ted Turner establishes CNN, a 24-hour news network. Pacman video game is released in Japan.

XXIX

TIMELINE: 1832-2006 Director Rainer Werner Fassbinder’s epic fifteen-and-a-half-hour Berlin Alexanderplatz is serialized on television.

, 1981 Sandra Day O’Connor becomes the first woman to serve on the U.S.

Supreme Court. ,

Assassination attempts on Pope John Paul Il and President Ronald Reagan. IBM introduces personal computers. The AIDS virus is identified.

MTV debuts as a 24/7 video music network.

1982 Argentina invades the Falkland Islands. Tylenol is pulled from shelves after seven deaths due to cyanide tampering. Michael Jackson releases his album Thriller. Walt Disney Studios’ Tron is an early example of computer animation. Steven Spielberg releases EF. 7.: The Extra Terrestrial.

1983 ~The Soviets shoot down a South Korean airliner. The U.S. Embassy in Beirut is bombed, killing sixty-three.

Cabbage Patch Kids become a fad. | Sally Ride becomes the first American woman in space.

Ronald Reagan announces the “Star Wars” defense plan.

1984 The PG-13 movie rating is created. Kathryn Sullivan becomes the first woman to walk in space.

“The Cosby Show” debuts on television. The Vietnam War Memorial opens in Washington, D.C.

India’s Prime Minister Indira Gandhi is assassinated by two bodyguards.

1985 Mikhail Gorbachev calls for glasnost (openness) in the Soviet Union.

The first Live Aid concert. |

| The first Blockbuster video store opens.

XXX |

Rock Hudson dies of AIDS.

Akira Kurosawa’s late samurai epic Ran. ,

TIMELINE: 1832-2006

1986 The space shuttle Challenger explodes after liftoff, killing all seven crewmembers. Spike Lee’s She’s Gotta Have It is released.

Chernobyl nuclear accident.

President Ferdinand Marcos flees the Philippines. | Ted Turner buys MGM and sells off most of the studio, but keeps the film library for his cable television stations.

1987 DNAis first used as evidence in criminal trial. Colonel Oliver North testifies before Congress in the unfolding IranContra scandal. The New York Stock Exchange suffers a 500-point drop on “Black Monday.”

Ousmane Sembéne and Thierno Faty Sow direct the epic Senegalese , film Camp de Thiaroye.

1988 _ Fifty-two percent of U.S. homes have cable television. Thirty-five thousand Americans have died of AIDS. Commercial e-mail is launched. Pan Am flight 103 blows up over Lockerbie, Scotland. The Film Preservation Act takes effect, preserving five films a year for

future generations. .

Eastern Europe. |

1989 = The Berlin Wall falls in Germany; revolutions across Soviet-dominated

Alaska. , Students are massacred in China’s Tiananmen Square by government troops.

The Exxon Valdez spills millions of gallons of oil off the coast of

James Cameron’s The Abyss makes extensive use of computer-generated imagery. Tim Burton directs Batman.

1990 ~=— The Hubble telescope is launched into space. , Nelson Mandela is freed from prison. Lech Walesa becomes the first president of Poland.

XXXI

TIMELINE: 1832-2006 Philip Kaufman’s Henry and June is the first NC-17 rated film.

, Matsushita, a Japanese electronics firm, buys MCA Universal.

sion. , , films. a

| 1991 The Soviet Union collapses. , | South Africa repeals apartheid laws.

U.S.-led Operation Desert Storm liberates Kuwait following Iraqi inva-

, Disney and Pixar join forces to create computer-generated feature

James Cameron’s Terminator 2: Judgment Day is a huge leap forward

in computer-generated effects. ,

beating trial. |

1992 ~_—s@Riotts break out in Los Angeles after the verdict in the Rodney King

The Cold War officially ends.

“Barney and Friends” and “Baywatch” dominate television. The bungee jumping craze peaks. Seventy-six percent of all U.S. homes have VCRs.

1993 The World Trade Center is bombed by terrorists; six are killed and a

, thousand are wounded.

Cult headquarters in Waco, Texas, are raided by federal troops; more © than seventy die.

Steven Spielberg’s Jurassic Park takes computer-generated imagery to

a new level of realism. ,

The Doom video game is released.

net surges. a ,

America Online launches large-scale network e-mail; use of the Inter-

1994 +Nelson Mandela is elected president of South Africa. QO. J. Simpson is arrested for double murder.

The Rwandan genocide begins. Steven Spielberg, David Geffen, and Jeffrey Katzenberg found DreamWorks Studios.

archival material. ,

, Robert Zemeckis’s Forrest Gump seamlessly inserts new footage with

XXxii

TIMELINE: 1832-2006 | 1995 The Ebola virus spreads in Zaire. _

Gas attack in Tokyo subway. | | ,

The Oklahoma City bombing. . | Israeli prime minister Yitzhak Rabin is assassinated.

| Dogme 95, a movement by Danish directors Thomas Vinterberg and Lars von Trier to make simple, low-cost, non-genre films, is founded,

1996 Mad cow disease hits England. :

JonBenet Ramsey is murdered.

| The Coen brothers direct the quirky murder mystery Fargo. Theodore Kaczynski, the “Unabomber,” is arrested.

France agrees to end nuclear testing.

1997. Hong Kongis annexed by China.

Princess Diana dies in a car crash in France. , | | The tallest buildings in the world are built in Kuala Lumpur, Malaysia. oe - James Cameron directs Titanic, the costliest and most successful filmin | , history.

Wong Kar-Wai’s coming-of-age drama Happy Together is released. |

Lewinsky scandal. India and Pakistan test nuclear weapons. ) : Google goes online. HDTV broadcasts begin. |

1998 ‘President Bill Clinton is impeached but remains in office following the |

Viagra is introduced. | ,

1999 Columbine High School massacre in Colorado.

The euro becomes the new European currency. | The Blair Witch Project, produced for less than $30,000, becomes a _ surprise hit.

TiVO is introduced. ,

Roberto Benigni releases his comedy/drama about the Holocaust, ,

| Xxxili |

Life Is Beautiful.

TIMELINE: 1832-2006 , 2000 _ The film industry is now controlled by six major companies: Disney, | NBC Universal, Time Warner, Sony, Fox, and Viacom.

North and South Korea sign a peace accord. Vicente Fox is elected president of Mexico.

The U.S. Supreme Court ends the election recount in Florida, making George W. Bush president.

, America Online buys Time Warner. 2001 ~Hironobu Sakaguchi’s Final Fantasy: The Spirits Within is the first fully computer-generated feature film that aims for pictorial realism; it fails at the box office. Ariel Sharon is elected prime minister of Israel. The World Trade Center is destroyed and the Pentagon is damaged in terrorist attacks. Oklahoma City bomber Timothy McVeigh is executed.

Kyoto protocol on global warming is enacted, without the United States. 2002 ~— Halle Berry wins Best Actress and Denzel Washington wins Best Actor at the Academy Awards.

Former Yugoslavian president Slobodan Milosevic goes on trial for war crimes. North Korea begins nuclear rearmament.

The United Nations passes a resolution asking Iraq to disarm. “The Osbournes” debuts on MTV, creating a model for “reality TV.” 2003 _ _~=—CODisney abandons traditional animation in favor of computer-generated

feature cartoons. :

Baghdad falls to U.S. troops in the early stages of the Iraq War. Liberian president Charles Taylor flees the country.

Saddam Hussein is captured by U.S. troops. Libya admits responsibility for the 1988 Lockerbie bombing.

2004 Michael Moore directs the guerrilla documentary Fahrenheit 911. NATO admits seven new countries from Eastern Europe.

Palestinian leader Yasser Arafat dies in France.

XXXIV ,

TIMELINE: 1832—2006

Gay marriage Is legalized in Massachusetts.

Martha Stewart goes to prison for obstruction of justice. |

Pope John Paul II dies.

2005 Paramount buys DreamWorks.

, George Clooney directs Good Night, and Good Luck, about the McCarthy era.

London is hit by terrorist bombings. : Israel evacuates from the Gaza Strip.

on the events of 9/11. ,

2006 Paul Greengrass directs United 93, the first Hollywood film centering

western. The Walt Disney Company purchases Pixar.

| Ang Lee directs Brokeback Mountain, the first gay-themed mainstream lran resumes nuclear research; North Korea fires test missiles.

YouTube explodes on the Web. , 2007. Former Communist countries Bulgaria and Romania are admitted into the European Union. Senegalese director Ousmane Sembéne dies at the age of eighty-four. Tony Blair steps down as prime minister of England.

lran announces plans to go nuclear.

, Ingmar Bergman and Michelangelo Antonioni die.

XXXV

BLANK PAGE

BLANK PAGE

THE INVENTION OF THE MOVIES

BEGINNINGS

Mee pictures don't really move. The illusion of movement on the

i cinema screen is the result of “persistence of vision,” in which the human eye sees twenty-four images per second, each projected for 1/60th of a second, and merges those images together into fluid motion. But it took thousands of years to put this simple principle into practice, and the motion picture camera as we know it today is the result of experimentation and effort by many different inventors and artists, working in different countries throughout the world. The principle of persistence of vision was known as far back as ancient Egypt, but despite numerous experiments by Athanasius Kircher (whose 1646 text Ars Magna Lucis et Umbrae described the use and | construction of what we now know as the “magic lantern”), as well as contributions by the Chevalier Patrice D’Arcy and Sir Isaac Newton regarding the mechanics of the human eye, it was not until 1824 that Peter Mark Roget ex-

plained what the process entailed. | Roget believed that persistence of vision was caused by the retina’s ability to “remember” an image for a fraction of a second after it has been removed from the screen; later research demonstrated, however, that it was the brain’s inability to separate the rapidly changing individual images from each other

that caused the phenomenon. Simply put, persistence of vision works because the brain is receiving too much information too rapidly to process accurately, and instead melds these discrete images into the illusion of motion.

The theory of stringing together still images to create this illusion of movement can also be seen in the early work of Claudius Ptolemy in 150 C.E.

Al Hassan Ibn Al Haitham, a famous Muslim scientist and inventor who died in 1038, was one of the first to describe the workings of the camera obscura, in which an image from the world outside is captured through a peephole and “projected” on the wall of a darkened room (albeit upside down) as

1

A SHORT HISTORY OF FILM

a real-life “motion picture.” There are also references in Lucretius to “moving pictures” circa 98-55 B.C.E., and one can find another early expression of the desire to create movement from still images in primitive cave paintings, Egyptian hieroglyphics, and friezes decorating the walls of the Parthenon in ancient Greece. But at this early stage in the development of “moving pictures,” a practical device for creating the illusion of movement from a series

of still images had yet to be developed. As the centuries rolled on, “magic lantern” displays and shadow “puppet plays” in China, Java, France, and other nations of the world became popular entertainment. The puppet plays depended upon crude marionettes casting shadows on a translucent screen before the audience; “image lantern” presentations were essentially elaborate slide shows, in which a variety of glass plates were illuminated by candles and mirrors to cast images onto a projection screen. Dominique Séraphin’s famous Parisian Shadow plays entranced audiences from 1784 until 1870; and the Phenakistoscope, a moving wheel with mirrors and slits that allowed viewers to peek inside and see figures “move, was renamed the Zoetrope and marketed as a novelty for the home viewer in the 1860s. During the same period, Philippe-Jacques de Loutherbourg created the Eidophusikon, a special effects extravaganza that used miniatures illuminated by candlelight and oil lamps.

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Other key American filmmakers of the period included producer/director Mack Sennett, whose Keystone Film Company’s slapstick comedies emphasized action and fast-paced, pie-in-the-face comedy over narrative subtlety. Sennett’s most famous discovery was undoubtedly Charles Chaplin, whom he found working with an English music hall troupe. In

oo. his second film for Sennett, Kid Auto Races at Venice

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THE BIRTH OF AN AMERICAN INDUSTRY

stick performers who pretended to be policemen, and whose exploits invariably included wild chases, car crashes, pie fights, and spectacular stunts. But Chaplin was easily Keystone’s biggest star, and his rise was meteoric. Sennett hired him in 1913 at $150 a week for Keystone; by 1918, he had signed a $1 million deal for eight films a year with First National Studios, after moving rapidly through Keystone, Essanay Studios, and Mutual Pictures on his way to international superstardom. The silent film was the perfect medium for Chaplin’s Little Tramp character and his delicate pantomime. Over time, however, Chaplin’s portrayals grew more expressive and less frenetic as he began to exert more control over his work, serving as producer, writer, director, and star on his best short films. Chaplin, too, was one of the first stars to take over the day-to-day operation of his own business affairs, founding United Artists Studios with Grif-

fith, action star Douglas Fairbanks Sr., and silent ingénue Mary Pickford in | 1919. His first feature, The Kid (1921), was an international success, and he soon moved on to make the masterful comedy The Gold Rush (1925), which many consider his finest film. The deeply felt romance City Lights (1931), a silent with musical accompaniment (scored by Chaplin himself), was also a hit with critics and audiences. Chaplin was one of the last American hold-

outs against sound, convinced that the introduction of spoken dialogue would rob the Little Tramp of much of his pathos, humor, and universal hu-

- manity. THE RISE OF THE STUDIO SYSTEM

It was during the teens in Hollywood, too, that the major studios as we know

them today began to take shape. Carl Laemmle folded his IMP Company into a group of smaller companies to create Universal Pictures in 1912; the aforementioned William Fox, Laemmle’s ally in the war against the Edison Trust, created the Fox Film Corporation in 1915; it would later merge with

Twentieth Century Pictures in 1935, under impresario Darryl E Zanuck. Metro Goldwyn Mayer (MGM), with its famous lion logo at the start of each

film and the motto “Ars Gratia Artis” (Art for Art’s Sake) boldly emblazoned | across the screen, followed in 1924, rising out the combined talents of Samuel Goldwyn, Marcus Loew, Louis B. Mayer, and financial wizard Nicholas Schenck. Goldwyn would soon leave the group to form the eponymous Goldwyn Pictures, and Louis B. Mayer would become undisputed chief of production for decades, although he, too, had to answer to Schenck, 33

A SHORT HISTORY OF FILM

whose offices were in New York, on all major financial matters. Adolph — Zukor’s Famous Players merged with Jesse Lasky’s Feature Play Company to

form Paramount Pictures (also known as Paramount Publix), using the

, Paramount distribution exchange to market their pictures to a series of wholly owned theaters across the United States; by the mid-1930s, Paramount would effectively have a monopoly on film production and dis-

tribution through Zukor’s strategy of “vertical integration,’ in which studio-owned theaters could play only Paramount product, thus ensuring a steady market for the studio’s films. Jack, Sam, Albert, and Harry Warner formed Warner Bros. in 1923; soon, Jack L. Warner emerged as the head of production in Hollywood though he also had to answer to a higher power—in his case his brother Harry—on matters of finance. United Artists was moving along at a solid clip, buoyed by the success of Mary Pickford’s star vehicles and Douglas Fairbanks Sr.s swashbucklers. Columbia Pictures was founded by Jack and Harry Cohn in 1924, with Jack emerging as the financial czar and Harry as perhaps the most ruthless studio boss in Hollywood, eventually nicknamed “White Fang” by writer Ben Hecht and later “King Cohn” for his brutal manner of doing business. But although Harry Cohn may have been the most abrasive of the studio bosses, all these men were exceptionally tough businessmen in a business that was rapidly consolidating its hold on the American public. In addition to the majors, a number of minor studios would eventually

join the Hollywood roster. These included Herbert J. Yates’s Republic Pic- | tures, which specialized in westerns and children’s serials and absorbed the smaller Mascot Pictures corporation of Nat Levine, which also dealt primarily in action fare; Monogram, which would come to its greatest prominence in the 1940s as the home of an interminable series of Bela Lugosi horror movies and Bowery Boys comedies; and Producers’ Releasing Corporation (PRC), reputedly the cheapest studio in Hollywood history, where two-day _ westerns were cranked out with alarming regularity in the 1940s, along with five-day film noirs dealing with the darker side of human existence. RKO Radio Pictures joined this group of minor studios in the early 1930s, and

thus the players in the American film industry for the greater part of the twentieth century was set in a matter of a few years. In the 1950s, such independents as American International Pictures would come along to challenge the system, but from the 1910s through 1955, the majors reigned supreme.

| There were, of course, exceptions. Although he released his films through United Artists, Chaplin remained a true independent, with his own studio facility in Los Angeles (now the home of A & M Records). 34

THE BIRTH OF AN AMERICAN INDUSTRY

EARLY MOVIE STARS

While Chaplin was one of the greatest of the early cinema stars, he had considerable competition from a number of newcomers, many of whom, like Chaplin, hailed from vaudeville or the music hall stage. John Bunny, a rotund comic, became the screen’s first lovable fat man until his death in 1915; Francis X. Bushman and Beverly Bayne were one of the screen’s first romantic teams—married in real life, they were forced to keep their nuptials a se-

cret to appease their fans. Alla Nazimova became the screen's first sophisticated European leading lady in such films as Billions (1920), while | Mary Pickford, whose salary demands rivaled those of Chaplin, was dubbed “America’s sweetheart” for a succession of films in which she portrayed a poor young woman adrift in an often hostile world, such as Paul Powell’s Pollyanna (1920). Pickford’s later films used oversized props and children’s clothing to continue the deception that she was still the ageless young waif of her earlier films. When sound came, Pickford failed to adapt and shortly thereafter retired from the screen. “Instant read” typecasting also became popular, with a readily recognizable hero and heroine as the center of the plot, attended to or menaced by a gallery of iconic —_ Mary Pickford (center, seated) in Paul

maternal and paternal figures, swarthy vil- Powell's Pollyanna (1920). |

lains, or seductive women, better known 2s aga any sare"

dent romances that lasted throughout the [JJ.A) e ° e e e

Taylor’s The Fresh l d Ted Wilde’s Speed had d

A SHORT HISTORY OF FILM

enhance his career, and he made his last film in 1947, Preston Sturges’s The Sin of Harold Diddlebock (a k a Mad Wednesday).

| Early film serials, such as Charles Brabin’s What Happened to Mary? (1912), Louis J. Gasnier and Donald MacKenzie’s The Perils of Pauline (1914), and Howard Hansel’s The Million Dollar Mystery (1914), introduced

audiences to the self-reliant heroine, in stories that ran as long as twenty chapters or more. Each new installment played weekly, leaving the protagonist in impossible danger in a cliffhanger ending, only to find a way to safety

in the next installment. In the wake of “Broncho Billy” Anderson, whose cowboy films were by his own admission fanciful romances, former Shakespearean actor William S. Hart brought a new realism to the screen, directing and appearing in such westerns as The Gun Fighter (1917). Hart’s films galvanized the public with a new vision of the West as a hostile, unforgiving terrain. In contrast to Broncho Billy’s films, many of Hart’s westerns have tragic endings. He typically portrayed women as vamps or seductresses, bent on his own character’s destruction. Using spare sets, harsh lighting, minimal makeup, and scenarios that highlighted suffering and pathos, his vision of

the West is closest to films of Clint East-

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THE BIRTH OF AN AMERICAN INDUSTRY

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Director Dorothy Davenport Reid (left) and scenarist Adela Rogers St. Johns, who

MPPDA. Soon known informally as the Hays Office, the wrote many screenplays during her long MPPDA set about to police the private lives of the stars, career as a writer, and often worked with

. . . . . Reid, seen here in the early 1920s.

inserting morality clauses in the contracts of all studio personnel that subjected them to immediate dismissal if

they failed to live up to a stringent code of personal conduct. Not coincidentally, Wallace Reid’s wife, actress Dorothy Davenport Reid, became a director in 1923 with her production of Human Wreckage (in which she also starred), about the evils of narcotics—made with the approval and assistance of the Hays Office.

——” 8 — i OS CECIL B. DEMILLE

The chief benefactor of the new code was director Cecil B. DeMille, an energetic showman who soon set about making a series of transparently moralistic features such as Old Wives for New (1918), Don’t Change Your Husband

(1919), and The Ten Commandments (1923). Each offered spectacles of sin , and destruction, but with a difference: the last reel of each DeMille film showed miscreants being firmly punished. So long as such behavior was not condoned, DeMille was able to get away with a great deal of sex and violence 471

A SHORT HISTORY OF FILM

on the screen. The Ten Commandments (which DeMille would remake in 1956) featured the familiar biblical story intercut with a modern tragedy of greed, sin, and decadence in which a young married man, intent on making quick money, falls in with a scheming adventuress and eventually contracts leprosy as a result of their relationship. In a blind rage, he murders her. Needless to say, the young man pays dearly for his transgressions, killed in an accident as he seeks to escape from the punishment he so obviously deserves. Thus was established the typical DeMille formula; sin, sex, and titillation—but in the end, adherence to an absolute moral code.

ROBERT FLAHERTY

At the same time, Robert J. Flaherty was busy creating a new form: the pop-

ular documentary. Flaherty’s Nanook of the North (1922) was the first straight documentary film that was also a commercial success, detailing the daily life and hardships of the Eskimo Nanook and his family, who lived, hunted, and built igloos in Hudson Bay, Canada. Nanook was actually Flaherty’s second stab at the film; in 1913, he shot 35,000 feet of 35 mm film in the same area, documenting Eskimo life, but the Robert Flaherty’s pioneering documentary Nanook _ cellulose nitrate film was destroyed in the cutting

of the North (1922). room when Flaherty accidentally dropped a lit

ic, + Cigarette on the master negative, and the entire — QY, CSSCS*CS film went up in flames. In 1920, he again set out

= ee BS ee. His equipment included a portable developing ——— | | = lab, so that he could process his film on location eee PEN and view the rushes to see if he was satisfied. This

ee = = for the cameras, despite its documentary feel) ee ee was distributed internationally to critical acclaim — f¢ A eee and excellent returns. The drama of the film

42 |

J " Ss “ = arose from Nanook’s ceaseless struggle against i ee the clements, simply trying to survive from one

4 o)0CC”C*CSSCs ay to the next; ironically, Nanook himself died

ll ee opleted.

THE BIRTH OF AN AMERICAN INDUSTRY

Flaherty’s second feature, Moana (1926), was a poetic tale of the South

Seas and more specifically life in Samoa, but it failed to ignite the same de- | gree of public interest. The director was then asked by MGM to collaborate with W. S. Van Dyke on the 1928 melodrama White Shadows in the South

Seas, but the workmanlike Van Dyke (who would later rise to fame as the director of the Thin Man series of detective mysteries, starting in 1934) soon | clashed with Flaherty, and Flaherty was taken off the film. In 1929, he teamed with German director EF W. Murnau to create Tabu; again, he clashed

with his co-director, and Murnau took over the completion of the film, re-

leased in 1931, which emerged as a dark, melodramatic project. Subsequent | films by Flaherty include Man of Aran (1934), about fishermen working off | | the coast of Ireland, which is perhaps the purest of his later films, along with | two sponsored films, The Land (1942), created for the U.S. Department of , Agriculture, and Louisiana Story (1948), which was financed by the oil com-

pany that became Exxon. Flaherty’s independence and uncompromising —spirit kept him out of cinema’s mainstream, and he never re-created the im-

pact of Nanook of the North. | Recent scholarship has uncovered the fact that Flaherty staged many sequences in Nanook and his other ethnographic films for the convenience of | the cameraman and/or greater dramatic effect. Nevertheless, by shooting on location and using non-actors as his protagonists, Flaherty’s partially staged documentaries created a new film genre.

THE MAN YOU LOVE TO HATE | | Another major figure of the late silent era, and a tragic one, was Erich von Stroheim, who sought to make films of extreme naturalism and went to what some viewed as excessive lengths to achieve his ambition. Von Stroheim viewed society as inherently decadent and cast himself in the lead of many of his films, notably Foolish Wives (1922), in which he plays a vile seducer who preys upon innocent women, a role that he relished. Billed as “the Man You Love to Hate,” von Stroheim’s intense desire for realism drove him to spend more than a million dollars to create Foolish Wives, a record at the time. Von Stroheim’s jaundiced view of society reached its pinnacle in Greed,

completed in 1924 after nearly two years of shooting for Metro-Goldwyn

Pictures Corporation. Based on Frank Norris’s novel McTeague, the film is a , bleak story of human frailty and despair. But what happened to the film it-

self is even more dispiriting. Von Stroheim’s final cut ran forty-two reels, at a | 43

A SHORT HISTORY OF FILM

Be 2 er fourteen reels, He suggested that half the

Erich von Stroheim and Mae Busch in reconstituted. Those who had seen the von Stroheim’s Foolish Wives (1922). forty-two-reel version, or even Ingram’s eighteen-reel version, wept when they saw the drastically cut result on the screen. Jumbled, choppy, and often incoherent, the final ten-reel version of Greed still displayed undeniable touches of cinematic brilliance, but von Stroheim’s reputation had been destroyed. Labeled hard to work with, von Stroheim soon left MGM after one more film, The Merry Widow (1925). Moving to Paramount, he fared little better, creating The Wedding March (1928), another exceedingly long opus that went over budget. On Queen Kelly (1929), an independent production, he was backed by financier Joseph P. Kennedy, with Gloria Swanson, one of the silent era’s greatest stars, in the leading role. But Swanson detested von Stroheim and fired him before shooting was complete; Swanson then finished the film with another director, and von Stroheim predictably disowned the film. Finally landing at Fox, he began his only talkie as a director, Hello, Sister (a k a Walking Down Broadway, 1933), but again the film was taken away from him and extensively reshot and reedited by others (Alfred L. Werker,

Alan Crosland, Raoul Walsh). From 1933, von Stroheim had to support himself as an actor and be content with the international acclaim he had received for his silent efforts. He never directed a film again. &a

, THE BIRTH OF AN AMERICAN INDUSTRY EARLY AFRICAN AMERICAN FILMMAKERS

The first African American director was William Foster, whose Foster Photo-

play Company opened its doors in Chicago in 1910. Lacking any camera equipment, he borrowed a portable 35 mm camera from a local photography shop and taught himself how to use it. Foster, who used his full-time job as stage manager for the Pekin Theatre to recruit actors, wrote, produced, photographed, and directed eighteen short films in 1910 and 1911. His early films included The Birth Mark (1910), The Butler (1910), and The Railroad Porter (1911), all with financing from white backers. But lacking any real dis-

tribution set-up beyond the Midwest, his company was forced to dissolve due to lack of funds. Nevertheless, he remained convinced that African Americans should make films for themselves, and his groundbreaking productions served as a model for better-known black directors who followed. In the early 1910s, “race” films began to make their appearance through-

out the United States, with all-black casts and production crews, and screened in rented halls, churches, and segregated theaters that formed an underground circuit of movie venues that catered specifically to African

American audiences. A few theaters on the racially segregated TOBA (Theatre Owners Booking Agency), which specialized in live vaudeville or music hall presentations, would also occasionally run a film as part of their program. These race films, made on impoverished budgets, flourished through the late 1940s, long after the medium had converted to sound, giving blacks

entertainment they could directly identify with, rather than the all-white films that Hollywood and other production centers worldwide produced. It was only as mainstream cinema began to belatedly recognize the importance of African American culture in the early 1950s to the present day that the race film market collapsed and with it, the segregated theaters in which the

films were presented. | | The race film was pioneered by actor Noble Johnson’s Lincoln Motion

Picture Company, which he founded on 24 May 1916 with his brother George to produce films of moral uplift for African American audiences. The company’s first film, The Realization of a Negro’s Ambition (1916), was

an “up from the bootstraps” film, in which a young man leaves home to find success in the world. This was followed by the wartime drama A Trooper of Cavalry K (1917), The Sage-Brush League (1919), and Lincoln’s final film as a production company, By Right of Birth (1921). However, though these films

were produced by and starred African Americans, they were all directed by

45 ,

A SHORT HISTORY OF FILM

Harry A. Gant, a white director who continued making all-black films into the sound era, with such productions as the musical Georgia Rose (1930). The Lincoln Motion Picture Company worked hard to gain distribution for its films, but in the end the company was forced to close its doors in 1921, and Noble Johnson went back to work as an actor in mainstream Hollywood

films, appearing in numerous films in supporting roles, such as Irving Pichel’s The Most Dangerous Game (1932), in which Johnson played a Russian Cossack.

The most prolific and important African American filmmaker in the United States during this period was Oscar Micheaux. Born on a small farm

outside of Metropolis, Illinois, Micheaux started his creative career as a writer. Although his novels, such as The Conquest: The Story of a Negro Pioneer (1913) and The Homesteader (1917) were self-published with little or no publicity, he managed to make a living for a time selling copies of them from door to door. But when the Lincoln Motion Picture Company tried to buy the rights to The Homesteader for a movie, partly in response to the release of The Birth of a Nation, he held out to direct. The company refused to accept his conditions, so he raised the money and directed the film himself in 1919. Micheaux followed this up with his searing tale of racial prejudice in modern America, Within Our Gates (1920), which he wrote and directed. With a violent story line involving rape and lynching, the film was controversial from the start, but the director kept on making films, often self-financed, and distributed them on a “state’s rights” basis, moving from town to town across the country until he had made enough money for his next production. Micheaux made many silent films—more than twenty in all—writing the scripts, casting for actors in music halls and cabarets, completing his features in short periods on painfully low budgets, sometimes as low as $5,000. In 1925, he scored a coup with the casting of African American singer-activist Paul Robeson in the silent film Body and Soul, and then produced the first sound film directed by an African American, The Exile, in 1931. Although Micheaux’s films moved away from the then-current stereotypes of blacks as |

servants and comic buffoons, they failed to acknowledge the existence of black poverty in America and existed in an artificially created world in which all blacks were well off and well educated and lived in a separate-butequal world of their own. Because of this, they were often criticized by the African American press of the era. Micheaux’s later sound films, such as The Girl from Chicago (1932), are similarly low-budget affairs, but as time went on his work became increasingly controversial. God's Step Children (1938) was picketed by pro-Commu-

46

THE BIRTH OF AN AMERICAN INDUSTRY

nist groups protesting its theme of “passing for white,’ something that Micheaux explored in many of his films. Having actually acquired a main-

stream distributor, RKO, Micheaux was heartbroken when the company was | forced to cease distribution. The director fell back into obscurity for a number of years afterward, but reemerged in 1948 with his final production, The

Betrayal, which was extensively reviewed in both the black and the white | press. With the rediscovery of several of Micheaux’s “lost” films—among them the revolutionary exposé The Symbol of the Unconquered (A Story of the Ku Klux Klan), made in 1920—a complete reassessment of his work is now an ongoing project for many film historians. Micheaux is undoubtedly one of

the most complex and underappreciated filmmakers, and also one of the

most culturally important, in American film history. Though there are many | production flaws in his low-budget films, it is a miracle they were made at all

in view of the unremitting racism of the period, and they stand as a testa-

ment to Micheaux’s unwavering determination as an artist and social critic. | In the wake of Micheaux’s work, several other African American filmmak-

ers also began to enter the field, the most important of which was Spencer Williams. An actor who financed his productions through white backers, Williams broke into the race film market with the religious parable The Blood of Jesus (1941), in which he also starred, and then continued with a wide variety of genre films including Dirty Gertie from Harlem U.S.A. (1946), an un-

credited version of Somerset Maugham’s short story “Rain,” and Jivin’ in Be-Bop (1946, co-directed with Leonard Anderson), which served as a show| case for jazz greats Dizzy Gillespie, Milt Jackson, and Ray Brown.

After his final film as a director, Rhapsody of Negro Life (1949), Williams ' returned to acting full-time, ironically cast as Andy in the television series “Amos ’n’ Andy,’ based on the long-running, deeply racist radio show that was a national hit in the 1930s and 1940s. Williams directed eleven feature films in all, running the gamut from moral fables to escapist musicals, and was a more commercial director than Micheaux, who as the writer, director, and producer of his forty-one films had a more direct social message in his work. But these pioneers, until recently forgotten by many, paved the way for such artists as Spike Lee in the 1980s, when a number of African American directors were at last restored to the director’s chair.

SILENT MOVIE MASTERS Despite the fact that the studio system often stifled individual creativity, a number of gifted filmmakers managed to strike a balance between art and 47

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THE BIRTH OF AN AMERICAN INDUSTRY

Clarence Brown, a director of silent i Hea -#t Gis | ii began directing in 1920. After spending “/” 3 94 5 a) en time as an assistant to director Maurice gt SS Gs

Tourneur, Brown established himself as jit Fen, >.

Devil (1927) and A Woman of Affairs i tic f) f,

‘cot tke Ame Crisis (10, aaa a ni the Dust (1950), Brown used his con- (sola siderable storytelling abilities to create [iii sma

plea for racial ae Swedish director Mauritztolerance Stiller was | a social message film that is a striking

imported to the United States by MGM, bringing with him a young Greta Garbo as his protégé. While Stiller failed to

click as a director in Hollywood, Garbo’s first film, Monta Bell’s Torrent (1926), electrified both critics and audiences, and a new star was born in the celluloid firmament. Other European directors who were lured to Hollywood in the final days of the silent era included Ernst Lubitsch, whose sophisticated sex comedies such as The Marriage Circle (1924) and So This Is Paris (1926) marked the beginning of a long career that would stretch into the 1940s in Hollywood, and the Hungarian Michael Curtiz, who began

with silents and would later become one of Warner Bros.’ most prolific directors. One of Curtiz’s key early works was 20,000 Years in Sing Sing (1932), in which tough con Tom Connors (Spencer Tracy) battles his way through prison life in brutally fatalistic fashion.

49

A SHORT HISTORY OF FILM

THE MOVE TO SOUND

But behind the scenes in the late 1920s, a revolution was brewing. Lee de Forest, the pioneer inventor who created the vacuum tube, the television picture tube, and the modern optical sound track system that was used in talking pictures for most of the twentieth century, was busily working in his small laboratory to bring synchronized sound to film. By 1923, de Forest had already licked the basic problems of recording sound on film; but while de Forest used his sound process in a number of short novelty films, it was up to Warner Bros., perhaps the most thinly capitalized of the major studios, to make the first feature film with talking sequences in 1927’s The Jazz Singer, directed by Alan Crosland. Calling their rival process Vitaphone, Warner Bros. lured Al Jolson away from Broadway to play the title role in the film, about the son of a Jewish cantor who refuses to follow in his father’s footsteps, preferring to sing jazz music. Warners was alone in embracing sound; at the time, all the other major | studios considered talking films a fad, and Warners only went ahead with Vitaphone because without some kind of gamble the studio faced almost certain bankruptcy. Sound was seen as Al Jolson sings in Alan Crosland’s TheJazz_ 4 gimmick, not something for everyday use, a fad of

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Singer (1927), the first widely distributed part-talking feature film.

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ated a series of Surrealist films such as his sound short hort L’Etoile d (Stofthe snorfilm m ollie de mer \otar tne S oea, L Hippocampe e Seahorse, 1934). Vigo made the silent 1928).

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A SHORT HISTORY OF FILM — |

See ——___ shove Gertrud (1964). Uncompromising, spare, and

_ § aa fae. jean Renoir is arguably the greatest artist the cinReneé Falconetti as Joan in Carl Theodor Dreyer’s La ema has ever known, simply because he was able Passion de Jeanne d’Arc (The Passion of Joan ofArc, to work effectively in virtually all genres without

1928). sacrificing his individuality or bowing to public or commercial conventions. Although he was the son of the famed Impressionist painter Auguste Renoir, his visual sensibility was entirely his own, and the technical facility that marks his films is the result of

long and assiduous study. Renoir’s first serious interest in cinema developed while he recuperated from a wound suffered in the Alpine infantry in 1915. His first active involvement came in 1924, when money from the sale of his father’s paintings allowed him to begin production on Une Vie sans jote (Catherine). Renoir wrote the scenario and co-directed with Albert Dieu| donné; Renoir’s young wife, Andrée Madeleine Heuschling Hessling, a for| mer model of his father’s, was the star, billed as Catherine Hessling. Renoir’s first film as solo director was La Fille de Peau ( Whirlpool of Fate,

1925), in which he also served as producer and art director, with Hessling again starring. Anticipating Jean Vigo’s L’Atalante of 1934, the film’s plot centers on a young woman who lives and works on a riverboat. Its modest success led Renoir to plunge, somewhat impulsively, into directing Nana (1926), an adaptation of the Zola novel, which now looks uncharacteristically stagebound. Nearly bankrupt, Renoir had to take out a loan to finance his next film, Sur un air de Charleston (Charleston, 1927), a seventeenminute fantasy that featured Hessling teaching the popular title dance in 64

WORLD CINEMA: THE SILENT ERA

costumes that were as brief as possible. After the film attained only limited success, Renoir accepted a straight commercial directing job on Marquittta (1927), now lost. His next significant film was Tire-au-flanc (The Sad Sack, 1928), a military comedy that Francois Truffaut would call a visual tour de force, and that marked the director’s first collaboration with actor Michel Simon. The working relationship between Renoir and Hessling, meanwhile, had taken its toll; the couple separated in 1930. To prove that he understood the new medium of the sound film, Renoir directed a down-and-dirty comedy based on a farce by Georges Feydeau, On purge bébé (1931). The film was shot on a very brief schedule, with Renoir apparently letting the camera run for as long as possible during each take, in order to work around the clumsy sound-on-disc recording apparatus. He

also inserted a number of instances of mild “blue humor” (such as the sound of a toilet flushing off-screen). Perhaps because he had aimed so resolutely for commercial success, Renoir’s first talkie was a huge hit, allowing him to rush into production on his first major sound film, La Chienne (The Bitch, 1931). This was also his first film edited by Marguerite Renoir, with whom Renoir became romantically involved and who would take on his name, though they never married. It was on this film, too, that Renoir developed his early strategy of sound shooting. In the face of objections—from his producers down to his sound tech- —_ michel Simon and Janie Marése in Jean nicians—he insisted on using only natural sync-sound, —Renoir’s tragic drama of sexual obses-

sion, La Chienne (The Bitch, 1931).

Se le 6h CULL | Se

65 |

A SHORT HISTORY OF FILM

recorded for the most part in actual locations. He also made extensive use of a moving camera, particularly in one sequence where the camera waltzes around the dance floor, keeping perfect time with the actors. Renoir next directed his brother Pierre in La Nuit du carrefour (Night at the Crossroads, 1932), a brilliant but little-seen detective film based on one of Georges Simenon’s Inspector Maigret novels. He followed it with the delightful Boudu sauvé des eaux (Boudu Saved from Drowning, 1932), using his by now polished on-location sync-sound shooting technique to tell the tale of Boudu (Michel Simon), a hobo who is fished out of the Seine after a suicide attempt by a well-meaning bourgeois bookseller, Edouard Lestingois

(Charles Granval). Taken into the Lestingois household, Boudu wreaks havoc until he escapes during a boating accident, free to wander again. The charm and invention of this beautiful film make it one of the outstanding works of the early sound cinema (it was remade in 1986 by Paul Mazursky as Down and Out in Beverly Hills). Though he made a name for himself in this period, Renoir’s best work still lay ahead.

SILENT FILMS IN ITALY

In Italy, the spectacle reigned supreme, as producers vied to outdo each other in presenting historical re-creations on a vast scale. In 1910, Mario Caserini’s Lucrezia Borgia and Enrico Guazzoni’s Brutus offered the public thrills and decadent delights, with lavish costumes and sets that made up in excess what they lacked in historical accuracy. Giovanni Pastrone’s Cabiria (1914), at a length of 123 minutes, was an even more ambitious spectacle and influenced D. W. Griffith’s Intolerance two years later with its impressive

sets and epic scale. | |

Elvira Notari The Italian cinema also gave the world one of film’s true pioneers, director Elvira Notari. Notari is the unheralded inventor of Neorealist cinema. Be- | tween 1906 and 1930, she directed over sixty feature films and hundreds of documentaries and shorts for her own production company, Dora Film. In addition, she usually served as writer and co-producer, working with her husband, Nicola, a cameraman, and her son, Eduardo, an actor. The rediscovery of Notari’s work throws into question a number of traditional notions of Italian cinema. Her early films were almost completely oppositional

| 66

WORLD CINEMA: THE SILENT ERA

to the slick super-spectacles of the North. Dora films were shot on location,

using the lower-to-middle-class streets of Naples, often with nonprofes- : sional actors. Notari loved to show the crude living conditions of real people and the politics of the underclass.

Notari’s films were noteworthy for being hand-colored in a rainbow of hues frame by frame or colored in dye-tinting machines that gave a uniform color to the images (deep blue, perhaps, for scenes of melancholy; red tints for anger) and synchronized with live singing and music. The results are exceptionally erotic, visceral, and often violent. Her work focuses on the plight of the underprivileged, especially women who refuse to conform to societal codes of behavior. E Piccerella (1922) is a melodrama about a woman named Margaretella who is courted by two men; she is attracted to the sinister Carluccio instead of the “good” Tore and meets her demise in the end. A Santa-

notte (On Christmas Eve, 1922) is similarly downbeat, violent, and highly | effective.

Italian Spectacles and Romantic Dramas

Just as the silent Italian cinema truly began to flourish, the twin exigencies of World War I and changing audience taste brought about a rapid shift in the

country’s filmmaking. The war caused producers to create more patriotic films that supported the propaganda efforts of the government. Such transparently jingoistic productions as André Deed’s La Paura degli aeromobili nemici (Fear of Enemy Flying Machines, 1915) and Segundo de Chomén’s animated children’s film La Guerra e il sogno di Momi (The War and Momt's Dream, 1917) contributed to the war effort, but with the end of the conflict, a new genre that might be called “Diva” cinema came into prominence. The figure of the actress as diva had been introduced before the war, in such films as Mario Caserini’s Ma l’amor mio mon muore (Love Everlasting, 1913), but after the war a whole group of players, including Pina Menichelli, Lyda Borelli, and Soava Gallone, flooded the screens with tales of decadent romance in which men were invariably lured to their doom through the machinations of sexual enticement and the promise of forbidden love. Nino Oxilia’s Rapsodia Satanica (Satanic Rhapsody, 1915), Pastrone’s II Fuoco (The Flame, 1916), and Lucio D’Ambra’s La tragedia su tre carte (Tragedy on Three

Cards, 1922) are emblematic of this cycle. But the demand for spectacles and “vamp” romances eventually collapsed under the strain of ceaseless repetition, and the Italian cinema began to cannibalize itself, remaking a number of films several times over, including a new version of Quo Vadis? in 1925 67

A SHORT HISTORY OF FILM

(directed by Gabriellino D’Annunzio and Georg Jacoby) and of Gli Ultimi giorni di Pompeii in 1926 (The Last Days. of Pompeti, directed by Carmine ~ Gallone and Amleto Palermi). In the final days of the Italian silent cinema, a series of “muscle man” films came into play, revolving around the character of Maciste, a slave possessed

, of seemingly superhuman strength. First seen in Luigi Romano Borgnetto and Vincenzo Denizot’s Maciste (1915), this strongman character was quickly recycled in an endless series of sequels from Maciste alpino (Maciste in the Alpine Regiment, ak a The Warrior, 1916) to Guido Brignone’s Maciste all’ inferno ( Maciste in Hell, 1925). What is perhaps most interesting about this initial period of Italian cinema is that it rapidly codified the two central genres that would define it throughout the twentieth century: the historical spectacle of Roman decadence, and the Maciste, or Hercules, films, which would become staples of the industry in the late 1950s and throughout the 1960s in

newer remakes, in color and CinemaScope (and other wide-screen processes). Until this later cycle again exhausted itself through ceaseless recapitulation, the Italian cinema consisted largely of huge costume-bin historical pageants, endless strongman films, and, in the 1960s, a new genre, the horror film, which had not been a major genre in the silent Italian era.

SILENT FILMMAKING IN ENGLAND

In England, the key film genres rapidly codified themselves into the colonial

romance, parody films, melodramas, and domestic comedies. Following Cecil M. Hepworth’s success with Rescued by Rover (1905), the English film

industry rapidly sought to emulate the American production-line method, with generally unsatisfactory results. Quantity was not the problem; originality, and even basic quality in production values, was. English producers rapidly realized that in order to create a significant quantity of films, a “series” formula was essential. Thus the Lieutenant Daring series was extremely popular from 1911 on, detailing the exploits of a dashing military officer in service to the empire, as exemplified by Lieutenant Daring and the Dancing Girl (1913) and Lieutenant Daring and the Plans for the Mine Fields (1912).

As films became longer and more ambitious, such directors as Graham Cutts created convincing melodramas, including Woman to Woman (1923), starring Clive Brook (who would later go on to a solid career in American sound films) and Betty Compson, as well as The Rat (1925), with matinee idol Ivor Novello. Maurice Elvey, director of Nelson (1918), was more typical 68

WORLD CINEMA: THE SILENT ERA

of the English silent cinema, however, creating a film that was slow moving,

poorly acted, and unconvincingly staged. Such productions were no match | for American competition, and it was not until the late 1920s and the ascent of Alfred Hitchcock that the English film would truly begin to establish a national identity.

Hitchcock, known to audiences throughout the world as the master of suspense, began his career in 1919, when he got a job creating title cards for Paramount’s London branch. By 1922 he was an assistant director, and he fi-

nally got his chance to advance to full director on The Pleasure Garden (1925), a German film shot in Munich with English financing. Working in Germany, Hitchcock picked up touches of the visual style known as Expressionism, a dark and moody approach to lighting and camera placement that

he soon utilized in his first true suspense film, The Lodger (1927), the , screen’s most accomplished Jack the Ripper story, with Ivor Novello in the title role. Rapidly adapting to sound films with Blackmail in 1929, Hitchcock actually shot most of the film twice: once as a silent and then the key sequences again with dialogue, just as silent films were vanishing from the

screen. Such early sound features as Murder! (1930) and The Man Who Knew , Too Much (1934) established Hitchcock as a clever director who used bold visual tricks to embellish his works. Hitchcock’s considerable influence con-

tinued to manifest itself in England and America. | , THE CINEMA IN SCANDINAVIA . In the Scandinavian countries, Holger-Madsen’s Danish film Morfinisten — (The Morphine Takers, 1911) was a controversial hit of the period, but the Danish film industry collapsed with the onset of war in 1914 and never really recovered. In Norway, such films as G. A. Olsen’s Kaksen pad Overland (The Braggarts of Overland) and Rasmus Breistein’s Fante-Anne (The Lady Tramp), both 1920, were domestically successful but failed to achieve sufficient production value for exportation. Later productions, such as Walter Fyrst’s TrollElgen (The Magic Leap, 1927), had more polish and professionalism, but on the whole the Norwegian cinema in the silent era was a modest affair.

Sweden, of all the Scandinavian countries, probably had the greatest worldwide impact, with such films as the Danish director Benjamin Christensen’s Hédxan ( Witchcraft Through the Ages, 1922), which was shot in Swe-

den, and Victor Sjéstrém’s Kérkarlen (The Phantom Carriage, 1921). Sjéstrém’s long career would take him to the United States as well, where he

69

A SHORT HISTORY OF FILM

directed an adaptation of Nathaniel Hawthorne’s The Scarlet Letter with Lil-

lian Gish in 1926, The Divine Woman with Greta Garbo in 1928, and his masterpiece The Wind, also in 1928 and with Lillian Gish. This last film, though a silent classic, was ultimately screened with synchronized music and effects and an alternate ending, much to Sjéstrém’s displeasure. (Even the director’s name had to be Americanized into “Seastrom” to please his Hollywood bosses.) Unhappy in California, Sj6str6m returned to Sweden, work-

ing as an actor and advisor for the giant national film company Svensk Filmindustri. He later appeared in Ingmar Bergman’s Smultronstallet (Wild Strawberries, 1957) as an aging professor who returns to his alma mater to receive an award for his academic career and is beset by memories of his youth along the way. Mauritz Stiller was another major Swedish director, whose sophisticated comedies, including Den Moderna suffragetten (The Modern Suffragette, 1913) and Kdrlek och journalistik (Love and Journalism, 1916), demonstrated a subtle, Continental style that allowed him to blend comedy and melodrama in a deft mixture of slick entertainment.

RUSSIA

Following a period in which domestic filmmaking was noted for its commercial blandness, Russian cinema underwent an explosive series of devel-

opments due to the Bolshevik Revolution. Under the czar, escapist entertainment was the order of the day, with such films as Vasili Goncharov and Yakov Protazanov’s Smert Joanna Groznogo ( The Death of Ivan the Terrible, 1909), Goncharov and Kai Hansen’s Pyotr Velikty ( Peter the Great, 1910),

Goncharov’s Zhizn i smert A. S. Pushkina (The Life and Death of Pushkin, 1910), Pyotr Chardynin’s Kreitzerova sonata (The Kreutzer Sonata, 1911), and Protazanov’s Pikovaya dama (The Queen of Spades, 1916). Many of these filmmakers would continue to work after the fall of Czar Nikolai II, but others would flee to Germany, France, and the United States when Vladimir Lenin seized power in October 1917. Quickly sensing the

power of the cinema to mold the populace, Lenin pressed ahead with the | production of films that frankly espoused the Bolshevik cause.

By 1918, the new regime had launched a series of “agit-prop” trains, packed with cinematographic equipment, theater groups, performers, and

70 |

entertainers, all of which were charged with the task of bringing the revolution to the masses across the country. On the first agit-prop train was Eduard Tisse, later the cameraman to the great Soviet director Sergei M. Eisenstein,

~ WORLD CINEMA: THE SILENT ERA

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e eonethe e . ice 9 inte The battle Sergei Eisenstein’s hpainter .|D dth . .Kivera, . t theter R epic Aleksandr Nevskiy (Alexander Nevsky, Uteto to the the iviexican M people and Wiego

1938). but it was never really finished. Privately financed by novelist Upton Sinclair, the film took two years in plan-

ning and production but ended when Sinclair pulled the plug just before Eisenstein was to shoot the film’s final sequence. Despite promises, Eisenstein was never allowed to edit the completed footage, and eventually Sinclair sold it to producer Sol Lesser, who created a feature and two shorts from it, entirely ignoring Eisenstein’s projected scenario. When Eisenstein finally returned to the Soviet Union after several years, he was subjected to vicious attacks in the state press. His films were rejected as abstract, and party apparatchiks demanded that he adhere to the tenets of Socialist Realism, structuring his work in a more conventional manner

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and eschewing the editorial style that had informed the creation of his

greatest output. After a show trial in 1935, during which he was forced to repudiate his own works, Eisenstein was allowed to direct only a few more

films, most notably Aleksandr Nevskiy (Alexander Nevsky, 1938; co-director,

Dmitri Vasilyev), an epic film about a thirteenth-century Russian prince who successfully fought back a German invasion with a small band of enthusiastic followers. With a superb musical score by Sergei Prokofiev, Alexander Nevsky was a substantial hit with the public and his party bosses and played neatly into the government’s anti-Nazi campaign as a run-up to

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No matter how powerful the film was, however, there was no getting

WORLD CINEMA: THE SILENT ERA

around the fact that it represented a decisive break from Eisenstein’s earlier, hyperedited style, and while it is a masterful work, a great deal of the kinetic

energy that suffused his earlier films is absent from the production. Never- | theless, Eisenstein was now back in political favor, and he began work on a trilogy entitled Ivan Groznyy (Ivan the Terrible) in early 1940, spending two

years preparing for the project before shooting began in April 1943. He

completed two of the proposed three features in the series, in 1944 and 1946 © | (co-director, M. Filimonova), the last third of which was shot in color (the director’s first use of the process). However, Eisenstein’s cinematic approach to his material had altered drastically, and the more traditional editorial structure of Alexander Nevsky was now replaced with even longer takes, often lasting several minutes, making extensive use of deep-focus shots in which both the extreme foreground and the extreme background are equally in focus, completely eliminating rapid editorial structures from his visual vocabulary. Neither film found favor with audiences, at home or abroad. In September 1946, he began shooting Part III of Ivan the Terrible, but production was halted by the director’s increasingly poor health. Of roughly twenty minutes shot, only a fragment of film remains; the rest was destroyed under

Stalin’s orders. Worn down by years of ceaseless struggle, as well as interfer- : ence from the regime whose cause he had so enthusiastically supported, Eisenstein died of a heart attack in 1948 at the age of fifty. Eisenstein’s colleagues during the silent period in the Soviet Union include Vsevolod Pudovkin, whose most famous film is the political drama Mat (Mother, 1926), and Aleksandr Dovzhenko, whose film Zemlya (Earth, 1930) was the antithesis of Eisenstein’s work in terms of style and content.

Dovzhenko favored long takes and detailed character development rather than the fast cuts and near caricatures favored by Eisenstein. Though Pudovkin and Dovzhenko were clearly overshadowed by Eisenstein’s personal flamboyance and directorial brilliance, they managed to create a sizable body of work under Stalin’s regime in part because they were not as lionized by the critical establishment abroad. This was also true of Yakov Protazanov, who created the bizarre science fiction film Aelita: Queen of Mars in 1924

(known in the USSR simply as Aelita), and Abram Room, whose Tretya | meshchanskaya (Bed and Sofa, 1927) offered trenchant social commentary to Soviet audiences. Esfir Shub, always most at home in the editing room and the woman who had first introduced Eisenstein to the concept of kinetic ed-

iting in 1923, continued to work on films such as Padenie dinastii Romanovykh (The Fall of the Romanov Dynasty, 1927), which mixed newsreel footage with staged sequences from existing features to create a film com77

A SHORT HISTORY OF FILM —

eg CA IP town on all experimentation in the cinema _ * wee Me @4> ) quired even less from the director. Thus Eisenit | aa aa tae \ limits, from 1924 to 1930. After that, Stalin’

f a ” Ae eee eee totalitarian dictatorship and indifference to ieee WC eee ee 2ttistic endeavor, coupled with Shumyatskiy’s

: E rn Wn (eee 2 cinema would never again rise to the level of a \ \ eee = international prominence to which Eisenstein

pe \ \ - s had brought it. Not until the 1970s and later

é ¢ A on me §6=6 the beginnings of glasnost would Soviet film = : a 3 ar Am , rise again to any level of artistic ambition.

A scene from Yakov Protazanov’s early So-

viet science fiction film Aelita: Queen of EARLY GERMAN FILM

Mars (1924). ,

In Germany, a similar period of experimentation was | taking place, albeit under radically different circumstances. The prewar German cinema was composed for the most part of “actualities,” short films in the manner of the Lumiére brothers and later short dramas with child protagonists, such as Carlchen und Carlo (1902); “mountain films,” a peculiarly

, German genre set against the backdrop of the country’s characteristic ter- rain, as in Der Alpenjdger (The Alpine Hunter, 1910); and domestic melodramas, exemplified by the film Zweimal gelebt (Two Lives, 1912) by Max Mack. By 1913, however, multi-reel films running thirty to fifty minutes were the norm, and action serials rose in popularity with the public, as in France. The French film d’art also caused a considerable stir in Germany, leading to the introduction of the Autorenfilm, literally “the author’s film,” which, as in 78

WORLD CINEMA: THE SILENT ERA

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under to men, is perfectly capable of taking care of herself, and operates | smoothly in what Hawks clearly views as a man’s world.

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A SHORT HISTORY OF FILM

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stylistic tour de force in which the surb d Madelei lLin Alfred WH : ,) Robert Donat an Ma eleine Carroll in Alfred Hitchcock’sHitchcock’ passengers of a sunken ship strugbreakthrough thriller, Thegleviving 39 Steps (1935). against the elements and each other’s jealousies and fears. Spellbound (1945) is a psychological murder mystery with a dream sequence choreographed by Salvador Dali. Rope (1948) is the chilling story of two young men who strangle one of their friends and then host a party in which food is served on the

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trunk containing the dead body. What makes Rope so intriguing is that it

consists exclusively of lengthy tracking shots, often up to ten minutes long, in which Hitchcock’s camera dollies smoothly around the killers’ New York penthouse, allowing the tragic narrative to play out in real time with only a handful of edit points in the entire film. Hitchcock was one of the first directors to have his name above the title as a key selling point, and he is among the few directors whose films almost constitute a genre unto themselves, the suspense-filled “Hitchcock thriller (similarly, a “Ford western”). A meticulous planner; he storyboarded each of his films from first shot to last before a single foot of film was exposed; he liked to say that this was his favorite part of making a film, because the actual shooting was often boring and laborious. Hitchcock’s most frequent leading men were Cary Grant and James Stew-

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- Renoir’s c 8 in Jean e

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id m , La crats and working class during a sporting weekend in and manners, La Régle Régledu dujeu j (The Rules of the Game, 1939).

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Th t Luchi V1 ti t his start wh he di ted Itali

Of james ain S ClaSSIC Nard-DoOled Nove e Postman A ways Rings Twice as SSESSITONLE session) 1n 1943; with its dark an rooding vV1siONn O uman existence, the him was not on y out o step with Mussolini’s war mae

hi but it al infri d the lit ights to th ial

WHIC owned and wouid a apt to the screen in 1946. Banned in the

United States fe Vi ti’s fil lt tel | d with official

clearance in the 1970s and no DVD f th t li d fatalisti fil d d i Italy d th

e e nna Magnani fights for her freedom in . . . | i

years. But the real breakthrough in the Italian postA M i fights for her freedom i Roberto Rossellini’s NClaSSic list classic nis NeorealiSt Roma, R war cinema would come witn the pro uction of Ros-

itta O Ci

citta aperta (Open City, 1945).

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G (Hugh B t, wh Id lat lay the fath the televisi

series eave It to beaver ohnnny tracks down the real murderer, a rundown detective named “Dad” Newell (Will Wright), who is also a Peeping Tom and a smalltime blackmailer—another aut ority gure proven Danlkrupt. oirs continued to be produce t roug the ear y 1950s in abundance,

Cold War f d d, but without a doubt the Golden A th

late 1940 hen th ho had fought th r were coming home to a transtorme society. \

Ch d les duri d after World War II had at d

fl fil d h| Itb ticularl ith d to i f y W lled ive d y women. During the war, Decause so many men were called to active duty, '

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. inoesn’ta Bil ma . ract

e

(Barbara Sthooks ietrichson Wil d >tale celevI ated Was Billy Stanwyck) unscrupulous i ilder’s of murde e

int c (Fre ity ( 1 ) In 1 1 ~ oa web of noi macMurray) ; and 44), in which inBi f murder deceit in € Wilder’s ic Doub ; red Mac er INe oir classicndemnity Double Indemni ¥ (19acMurra VamMp1S rbara Stan (Barb yilisotan toDietrichso kill P 1c , .,. n the j YilIS S husband fo

ughter Veda (Ann Blyth) doesn’ ney. Stanwyck’s.character h . pprove of blematic Ss em-s er mother, Mildred Pi C 0 No ; ael ierce (joan Crawf . ir’s™ manipulativ Mi +19 . wrord), In : Ive an C1 Curtiz’s acid | n , em en viclou ook at postw , me fatale ism, Mi ildred Pi ( 94 P ; r ° 1 5 ) bd

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Though the title role of Mildred Pierce (1945) is no such femme, the

movie is perhaps director Michael Curtiz’s darkest look at postwar Ameri- . can life, focusing especially on tensions between mother and daughter. Mildred (Joan Crawford) does whatever she humanly can to make her daughter, Veda (Ann Blyth), happy, but seemingly to no avail. When Mildred’s second husband is found shot to death in her beach house, the police start asking questions, and Mildred is forced to recount her painful life story in a series

, of flashbacks. With first-class direction and impeccable acting—Crawford won an Academy Award—Mildred Pierce is one of the most brutal visions of American consumerism ever made in Hollywood.

THE SOCIAL PROBLEM FILM , In the postwar years, Neorealism crossed over into other genres as well, most notably the “problem film.” Billy Wilder’s harrowing tale of alcoholic writer Don Birnam (Ray Milland) in The Lost Weekend (1945) was partially shot on the streets of New York, in particular a memorable sequence in which Don, desperate for a drink, tries to hock his typewriter on the Jewish holiday of Yom Kippur, only to find that all the pawnshops are closed. As one Jewish

store owner tells him, the pawnshops have reached an informal agree- | ment—“they don’t open on Yom Kippur, we don’t open on St. Patrick’s.”

Wilder stages the sequence in a series of seemingly endless tracking shots | that highlight Don’s Sisyphean trek through the city, as he meets rejection on all sides. Later, Don lands in the drunk tank at Bellevue, actually a studio set enhanced with judicious exterior shots of the real psychiatric hospital to lend veracity to the scene and embellished with a web of shadows to create a

suitably ominous atmosphere. |

Other problem films included Jules Dassin’s brutal exposé of prison life, Brute Force (1947), featuring Hume Cronyn as a sadistic martinet who delights in dressing up in neo-Nazi regalia while torturing his prisoners to the strains of Wagner, and Anatole Litvak’s The Snake Pit (1948), in which Olivia

de Havilland descends into insanity and is committed to a public mental in- , stitution, with horrifying results. Without assistance from the public agencies that are supposed to help her, she is left to cope as best she can, though she is hardly able to care for herself. Also notable were two movies directed by Elia Kazan: Gentleman’s Agreement (1947), dealing with ingrained anti-

Semitism in postwar American society, and Pinky (1949), examining the | problem of racial “passing” in an America still acutely color-conscious. In |

177

A SHORT HISTORY OF FILM

such films the endings are generally left unresolved, as if to say these were

problems that could not be solved by the artificial narrative closure of a happy ending. Neorealism, born out of the ashes of a defeated Italy, and film noir, created by the rising social tensions at the end of the war, and the problem film, which recognized that in the postwar world not all men and women were

created equal after all, together created a late 1940s milieu in which the dominant social order was resoundingly called into question and found wanting, even if no solutions to the problems the films presented were forthcoming or even possible. We were living in a different world, and these

: films presented that world in a brutal and uncompromising fashion, in a radical departure from the films of more than a decade before, prior to the start of the war.

THE HOUSE UN-AMERICAN ACTIVITIES COMMITTEE

The American mood darkened even further with the investigations of the House Un-American Activities Committee (HUAC), which kicked into full gear in 1947. The results were disastrous for film as an art form, and equally grave for those caught in the net of hysteria and suspicion. The HUAC had

been around since 1938, when a former Communist, James B. Matthews, named James Cagney, Bette Davis, Clark Gable, Miriam Hopkins, and even Shirley Temple as actors whose work unwittingly served Communist interests. At that time few people took the charges seriously. But in 1944, Walt Disney, aggravated by the 1941 animators’ strike at his studios, helped to form the Motion Picture Alliance for the Preservation of American Ideals, aided by director King Vidor, actors Ward Bond, Gary Cooper, Robert Taylor, and John Wayne, novelist Ayn Rand, and gossip columnist Hedda Hopper, and matters began to get more serious. In 1946, HUAC decided to hold formal hearings on the issue of Communist infiltration in Hollywood. At the dawn of the Cold War, with the Soviets gradually extending their influence throughout Eastern Europe, it was diffi-

cult to remember that Hollywood had produced films lauding the American-Soviet alliance during the war at the behest of the U.S. government. Now these films would be cited as proof of Communist influence in the mo-

| tion picture industry. Those associated with the productions were brought to task by HUAC, creating an atmosphere of fear and distrust throughout Hollywood. When the committee asked him why he had participated in the 178

POSTWAR CHALLENGES TO THE MOVIES

making of Song of Russia, Robert Taylor said crisply that he had made the film under protest as an MGM contract performer. Subsequently Taylor became one of the first “friendly witnesses” to testify at the HUAC hearings on Communist infiltration in the film capital. In May 1947, the committee held ten days of closed hearings in Los Angeles, where Taylor, Adolphe Menjou, and Jack Warner, as well as Leila Rogers,

Ginger Rogers’s mother and a virulent anti-Communist, all testified to the wide extent of Communist infiltration in Hollywood. Shortly thereafter, the Screen Actors Guild (SAG) instituted a loyalty oath that all members were asked to sign, although at this early stage participation was voluntary. In October 1947, HUAC held more hearings in Washington, where Walt Disney, as

well as actors Robert Montgomery, Gary Cooper, George Murphy, and Ronald Reagan, testified to the immediate danger to the film community from Communist infiltration. Meanwhile, another group of actors, including Humphrey Bogart, Lauren Bacall, Danny Kaye, Gene Kelly, and Sterling Hayden, as well as lyricist Ira Gershwin and director John Huston, formed

the Committee for the First Amendment to protest the hearings. The protests were soon drowned out by a chorus of disapproval, and Bogart and the others soon realized that the atmosphere of fear developing around the

hearings could ruin their careers. Shortly thereafter, the Committee for the _ First Amendment was disbanded, and its former members returned to Hol-

lywood to disavow their stand against HUAC. | THE HOLLYWOOD TEN AND THE BLACKLIST

Not everyone folded up their opposition to HUAC, however. In addition to the Hollywood Ten—ten writers, directors, and producers who protested the HUAC hearings—there were also hundreds of other actors, writers, directors, and producers who would be swept up in a frenzied wave of denuncia-

tions that would eventually cost them their jobs, their livelihoods, and in some cases their lives. In 1947, the Hollywood Ten—directors Herbert Biberman and Edward Dmytryk; screenwriters Alvah Bessie, Lester Cole, John Howard Lawson, Dalton Trumbo, Ring Lardner Jr., Albert Maltz, and Samuel Ornitz; and producer Adrian Scott—were charged with contempt of

Congress for refusing to cooperate with HUAC and eventually served jail time as a result. On 24 November 1947, the chief executives of the major studios, fearful of government pressure, met at the Waldorf-Astoria Hotel in New York and issued a statement agreeing to fire or suspend without pay all _

179

A SHORT HISTORY OF FILM

the members of the Hollywood Ten and also to “eliminate any subversives in

| the industry.” The blacklist had begun. In 1949, the pro-blacklist Motion Picture Industries Council was created by director Cecil B. DeMille, producer Dore Schary, SAG president Ronald Reagan, and International Alliance of Theatrical Stage Employees (IATSE) chief Roy Brewer, giving the blacklist an official imprimatur to control the industry’s destiny. The IATSE endorsement was particularly crucial to the formation of the new watchdog organization, as the IATSE was the key labor union of the motion picture business, representing everyone from cameramen to art directors, grips to gaffers (lighting assistants), set designers to

screen cartoonists. Coupled with SAG's participation under Reagan, the blacklist now directly affected literally everyone who worked within the in-

dustry in any capacity, creating a climate of hysteria and persecution in which friends denounced friends, and enemies used the contentious atmosphere to advance their own careers at the expense of others. Actors Melvyn Douglas, John Garfield, Fredric March, Edward G. Robinson, Sylvia Sidney, and Paul Muni were named Communists or Communist sympathizers (“fellow travelers”) by an FBI informant. By late 1949, the California State Senate Committee on Un-American Activities identified such diverse personalities as Gene Kelly, Gregory Peck, Frank Sinatra, Orson Welles, Katharine Hepburn, and Charles Chaplin as Communist sympathizers. As the blacklist deepened, the HUAC began a second group of hearings into Communist infiltration within the film industry,

- this time convening in Hollywood. Now in full force, the blacklist, in both its

7 1947 and 1951 incarnations, dominated the entertainment industry for more than fifteen years, denying work to hundreds of talented writers, actors, and directors. Edward G. Robinson, who had been a fixture at USO bond rallies during World War II, was forced to attach his name to a ghost-

written article asserting that he had been “duped” by the Reds. | Frank Sinatra, a vociferous supporter of the World War II effort, was sud-

denly unemployable and had to return to singing engagements to make a living. He was finally able to break back into acting in 1953 in Fred Zinnemann’s epic war drama From Here to Eternity, in part by agreeing to work for

a pittance. Gregory Peck and John Garfield also found it nearly impossible to get work, perhaps because of their involvement in films like Gentleman’s Agreement, which was now denounced in some quarters as an attack on postwar American society. The harassment and stress endured by Garfield— who had also starred in Robert Rossen’s Body and Soul (1947), another problem film that would soon cast doubts on his patriotism—contributed

: 180 :

POSTWAR CHALLENGES TO THE MOVIES

to his death from a heart attack in 1952 at the age of thirty-nine. His last film | was the crime thriller He Ran All the Way (1951), directed by John Berry, - | whose own career came crashing to a halt when he was named a Communist. He had produced and directed a documentary, The Hollywood Ten (1950), denouncing the blacklist, and as a result was soon forced into exile. Charles Chaplin likewise fled the country, as did director Joseph Losey and numerous others. Losey, in particular, was a significant loss to the industry

in the United States; he would direct some of the most brilliant British films of the 1960s.

As the blacklist continued, various members of the entertainment com-

munity appeared before the committee and “named names,” including screenwriter Martin Berkeley, who on 19 September 1951 named more than

one hundred members of the motion picture industry as Communists, Communist sympathizers, or “dupes.” Numerous other “friendly witnesses,”

including Lloyd Bridges, Sterling Hayden, Roy Huggins, Lee J. Cobb, Elia 7 Kazan, Larry Parks, Jerome Robbins, Frank Tuttle, and Robert Rossen (at first refusing to answer, then later recanting his earlier testimony and implicating more than fifty colleagues), all came before HUAC at various times to

denounce their co-workers. | Edward Dmytryk had first appeared before the committee in 1947 and re-

fused to answer questions, along with the rest of the Hollywood Ten, and he | began serving a jail term for contempt in 1948 as a result. But prison life wore Dmytryk down, and in 1951 he appeared again before the committee, this time as a friendly witness, and named names. Dmytryk was immediately

rewarded with a contract to direct The Sniper (1952), one of the most vicious films of his career, centering on a sociopathic serial killer (played by Arthur Franz) who targets young women as his victims. Perhaps not entirely coincidentally, the major star of the film was Adolphe Menjou, who had been one of the committee’s staunchest supporters. It was a time of complete uncertainty and paranoia, when even a whispered innuendo could ruin

a career. ,

Elia Kazan alienated many of his colleagues when he, too, testified as a friendly witness before the committee in 1952 and then published a newspaper display advertisement shortly thereafter to defend his decision. Kazan

thus continued working through the 1950s and went on to make the now- | classic film On the Waterfront (1954), which despite its directorial brilliance

munist fronts. |

and Marlon Brando’s magnetic performance in the leading role of dockworker Terry Malloy, is essentially a film that attacks labor unions as Com-

181

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Walker’s Sailor Beware (1951).

Nn :

WORLD CINEMA IN THE 1950S |

T* cinema in Europe and Asia of the 1950s was in many ways changing more profoundly than the American cinema of the same era. Filmmakers were beginning to find their own national voices, in some cases as they began to break away from colonial rule. Improved distribution patterns also , gave the international cinema greater visibility than ever before, thanks to

the proliferation of film societies, museum screenings, and 16 mm non-the- : _atrical prints of movies that could now reach a wide and enthusiastic audience worldwide.

JAPAN

Japan after World War II was a nation in ruins, with an Allied occupation government and a populace confused and dismayed by the Emperor’s sudden insistence that he was not, in fact, a deity. As Japan began to rebuild, it rapidly threw off much of its military past and soon became an industrialized nation, adopting many of the customs and values of the West. Filmmaking, too, became more Westernized. Akira Kurosawa directed his first movie with the actor Toshiré Mifune, Yoidore tenshi (Drunken Angel, 1948), and then Nora inu (Stray Dog, 1949), a stark policier, both films signaled the

future development of Kurosawa’s mature style. Kurosawa’s Rashémon (1950) was the first major Japanese production that broke out of its native

country and into Western consciousness. It demonstrated to audiences that there was a vast literature of cinema in the world that had not yet been made

available to the public, and further, that new national cinemas were creating | some extraordinarily exciting work that should not, and could not, be ignored. Rashémon tells the tale of a young woman, Masako (Machiko Ky6),

| in eleventh-century Japan who is the victim of rape during an attack in the 203

A SHORT HISTORY OF FILM

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perseveres 1n her faith in mankind, NO federico Fellini’ icdRoad Th(LadL d 1954), ederico Fellini’s poetic drama The Strada,

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atter now shabbDl Vy the tates a er _ Starring Fellini’s wife, Giulietta Masina, as Gelsomina, .

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Best Foreign Language Film. In 195 » he

b hooting hi t biti fil t, La Dol ita (literally Th Sweet Li fe 1960) a biting condemnation of throwaway “pop” culture and | photographers.

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Mising situations. As the m progresses, Marcello sinks eeper into the

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[TOP]: Bruce Lee redefined the film martial with harts tacular martial films wi action is spectacular s from Hong Kong, suchfrom as Fists| of Fury , lang g, 1971), in da the xiong, French anamorphic process Dyaliscope. ei Lo and Jiaxiang Wu, Jangshot shan 1971), shot in the F h m [BoTTOMm]: Yaaba Was airecte risSa UUedraodgo In 1 , and a ClaSSIC , a tale of family life inaso, Burkina F directed by Id Oued 8 remains d .

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example of contemporary African cinema.

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jae. , e Pe bs ' E ee [ABOVE]: acino Dlasts nis way to the top of a cocaine cartel in Brian De Palma’s Scarface (1983). [BELOW]: Denzel ashington stars as the charismatic Malcolm X in Spike Lee’s 1992 biography of the famed civil rights leader.

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r‘°ENTS spina Fath een eee aOOSBaas 2): See Sees ORES ROERecaro eaeses™ anten re veelOI mid PSpOests >: Seasemenrena ances aa ore on eaee ven ck eae a sae sek BP sree aPAST aae|ATU of 4oe aaone=Sarees on Si‘aS 21 SaaS A Sousa PER I S eaxbthe 1d-u1me pr

y more severe, a y films of the mid-19 ntional 1 ndoned th S, D€Ca‘ te f -scene f O prof rm for th , preferrin e nonprofessi ring toessional wo . actors an W. essional rk with “ He also d mers h S hi € veloped e used in his fi 1s own is charac a style of stagin is “1: films from ters ente 1 a 195 Les Dam ame delibpace, reen spaas O FAfter du Boi eliberat ff .from es ois de Bo y efore and ° mmakin : ene In l ere ein the refined h1s?style, esson too cars | contem . mat SIX Pri plative Journ ure evid °often s His “models eae cam est, 1951). “ rnal dun curé idenced for € r sh eir li ry O C. O en shot man ines without i untr solut y tak t inflecti e absen es of th ction o ; : motion h scene b 10N); without an e was“tri seekin efore attainin ecking; ining t yg s actor’s “tricks” ; Bresson la € aD-

ar erf mo » : Y an 1 O Scene exit 1L1Ze 1t the off- ~ time 1 while he Br } the di els” ‘ a ; rs irecto € . ne O n . a Clo O . Sam ass1O

. 2 5 ac e

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son’s films » ter explained hat c aveh could av .the oe“t uth” of . that

ac sum itwit ; e-W. eX uo usly O S,. :€1‘ ite orocation Ing

ther ulptural i istinctive | yOften ack-a ot osituati rot]s -e DIES~ bl ok. out. Br -

the ience audiand 1 etailed romantic °”q nothi more 18107), color, they Te Ing 8 only what , tprecisi 1sreveali necess

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WORLD CINEMA IN THE 1950S

While at least one of his films is partly factually based, Un condamné a mort s est échappé, ou Le vent souffle ott il veut (A Man Escaped, 1956), from , André Devigny’s memoir of his year-long internment in a German prison during World War II, such later films as Pickpocket (1959), a loose adaptation of Dostoevsky’s Crime and Punishment, are more like philosophical

est échappé ffle out il A d, fi

treatises than narratives, in which one’s deeds are subject to constant scrutiny and all actions have almost immediate consequences. Every

ee ee ee e° e e ° e . e°°e6e°

frame, every movement in his films is absolutely precise, as in Pickpocket’s extraordinary sequence of a gang of thieves working their way through a crowded train, picking the pockets of the unsuspecting passengers with effortless skill. To stage this sequence, Bresson hired a professional pickpocket known only as Kassagi to choreograph the movements of the thieves. The result is astonishing; true sleight of hand without the aid of special effects or editorial trickery. Pickpocket’s plot, which involves a young man’s descent into’ crime following the death of his mother, is seen as a series of conscious if e

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ill-considered moral choices that eventually lead to his _

arrest and imprisonment. But even in prison, the way possi- through a train : ; ?bility Two thieves work their of redemption remains open. Bresson’s cinema is _ stealing the possessions of the passengers in

Robert Bresson’s religious allegory Pickpocket

(1959).

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pulse, with apa intact 1 pts McD in >calyptic wit na soc ' owell a1attemto s. Ano ressing neSS society bent on .s he Ic resu re

on i ° the indivi ° ) a > e ' Cll nce R m, Ric ai 1m quent tee ner (1962), i » Richardson’ sent t mit O prison dr I o aha m Cou ama 1 (Mich Brave rsh reform rtenay) in which y run by th ght iafter a ranu e Gover nor *ing e@candid e with sp -polish “G omin or1 sees O-dist Srunnl 1| ’ a ance oun e

st be-

A SHORT HISTORY OF FILM , tween the inmates of the reform school and the boys of a privileged private school. Colin trains aggressively, all the while flashing back to the events that got him into prison in the first place and developing a hatred for all authority, especially the Governor. On the day of the big race, Colin runs easily, but stops short of the finish line by only a few feet to humiliate the Governor, looking at him with a triumphant smile. At the film’s end, Colin is back in

the reformatory disassembling gas masks—one of the most menial and filthy jobs at the school. But by not “winning,” Colin has shown that he re-

fuses to be crushed by the system, and the film became a cult hit among

| youth of the period. Swinging London

In the early 1960s, gay rights began to emerge as a social issue, and a small

| group of films began to champion the cause of the gay, lesbian, and bisexual community. Basil Dearden cast matinee idol Dirk Bogarde in Victim (1961), one of the first British films about closeted homosexuality in a society where being gay was a criminal offense. The film was so direct and unapologetic for its time that it was refused a code seal by the Motion Picture Association

of America when Dearden refused to edit it. A movement of similarly themed films would explode in the late 1960s and early 1970s, including works of Derek Jarman, but the roots of this tradition began here. Sidney J. Furie, who directed the Canadian drama A Cool Sound from Hell (1959), moved to Britain in the early 1960s and directed the pioneering Queer biker drama The Leather Boys in 1964, starring Colin Campbell as the straightarrow motorcyclist Reggie, and Dudley Sutton as Pete, a gay biker who falls

in love with Reggie and tries to seduce him. | In 1965, Furie went on to direct one of the most intelligent Cold War spy thrillers, The Ipcress File, the film that shot Michael Caine to stardom. Designed as an antidote to the gloss and chic sadism of the James Bond films, The Ipcress File ably displays Furie’s considerable gifts as a visually dazzling director, who also gets the most out of his thematic interest in the grimier side of espionage. The Bond films, of course, became a national industry that is still an ongoing franchise, with Terence Young’s Dr. No (1962) and

From Russia with Love (1963), and Guy Hamilton’s excellent Goldfinger

| (1964), which remains the high point of the series. In a more realistic vein, Bryan Forbes dealt with racial prejudice and unwanted pregnancy in the pioneering drama The L-Shaped Room (1962), while Basil Dearden also tackled British racism and “passing” in the crime thriller Sapphire (1959).

266

THE 1960S EXPLOSION

The Running Jumping & Sionding Sit [ee ehh arial | ANG

Film (1959) for a few hundred pounds, § iF “»% wm MD co 2 ae 1

the “Goons,”a zany comedy troupe whose J. > J Monty Python television shows and films. [US gga oe sisted that Lester direct their films, both A [iim De Nee, oe

Hard Day’s Night (1964) and Help! [i] |e » oe

Lester also directed the brilliant comedy gugaaeln 2 oe Be Sy

of the sexes The Knack...andHow Gt = “aim ~

frames, sped-up motion, repeat montages, SEE inserted titles, slow motion, and reverse Gert Frébe as Goldfinger and Sean Connery as James Bondin Guy motion, along with dissolves, wipes, and _ Hamilton’s Goldfinger (1964), arguably the best of the Bond films.

other camera tricks) became his trade- | mark, though in later films such as Petulia (1968), The Bed Sitting Room (1969), Juggernaut (1974), and Robin and Marian (1976) he displayed a con-

siderably more restrained approach. |

| Other important films of the British New Wave include John Schlesinger’s Billy Liar (1963), about a compulsive liar stuck in a small British town which he will never leave, and Darling (1965), featuring Julie Christie as a ruthless

model and social climber who will stop at nothing to get to the top of the celebrity-driven world of “Swinging London.” David Lean created the spectacular Lawrence of Arabia (1962), which made Peter O”Toole a star, and Doctor Zhivago (1965), which did the same for Omar Sharif. Tony Richardson’s Tom Jones (1963), based on Henry Fielding’s novel about a worthless but charming ne’er do well who makes his way from one misadventure to

another in eighteenth-century England, won multiple Academy Awards. Peter Watkins created a terrifying vision of worldwide nuclear holocaust in his newsreel-like fiction film The War Game (1965), released in 1967, which

used nonprofessional actors and crude handheld camera work to give the feel of a documentary film. Ironically, the film won an Academy Award as

| 267

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THE 1960S EXPLOSION

having a quarrel in a park and takes a series of photographs that seems to suggest the argument is really a murder in progress. Jane (Vanessa Redgrave)

chases after Thomas and demands the film back, offering to have sex with , him in exchange for the undeveloped roll of film. But Thomas tricks her and develops the roll, blowing each image up progressively until he thinks he sees a corpse at the edge of one image, almost obscured by the foliage. Returning to the park he finds the body, but for some reason fails to report it to the police; the next day, the body has vanished. Did the murder happen? Was there ever a body? As with Antonioni’s L’Avventura, we will never know. In the film’s tantalizing final shot, Thomas himself vanishes before our eyes, as if he had never existed. An enormous commercial and critical success when first released, Blowup is perhaps the key film of swinging London in the 1960s,

and boasts a superb sound track by Herbie Hancock and Jimmy Page, who also appears in the movie with his band, the Yardbirds.

Stanley Kubrick

Stanley Kubrick, one of the best-known filmmakers in the history of the

, medium, was born in the Bronx, New York, in 1928, and began his career as | a still photographer for Look magazine, the now-defunct American weekly picture journal. In 1950, he made a short film entitled The Day of the Fight,

based on a pictorial he had done for Look and sold it to RKO (released in ; 1951); in 1953 he directed his first feature, Fear and Desire, followed by Killer’s Kiss in 1955. For reasons of economy and control, Kubrick’s involvement in both these productions was total: he served as screenwriter, camera-

man, director, editor, sound dubber, and mixer in each case, making the films for only $20,000 and $75,000 each. After modest success, he directed the racetrack robbery drama The Killing (1956), the antiwar film Paths of Glory (1957), and the Roman drama Spartacus (1960, begun by Anthony Mann, who quit over creative differences). In 1961, Kubrick moved permanently to England; he would never return to America, gradually becoming more reclusive as his career progressed. His

adaptation of Vladimir Nabokov’s Lolita (1962) was well received, but his | 1964 nightmare comedy, Dr. Strangelove or: How I Learned to Stop Worrying

and Love the Bomb, earned him a permanent place in the cinematic pantheon. This brilliant black comedy of all-out nuclear warfare features Peter Sellers in no fewer than three roles—Group Captain Lionel Mandrake, President Merkin Muffley, and the sinister Dr. Strangelove himself—and manages to highlight both the horror and the inherent absurdity of the prospect

269

A SHORT HISTORY OF FILM

—S 0606CUWeet~‘_O. oof thermonuclear war. From Sterling Hay-

i= 7 den’s performance as the utterly mad General —S — « Jack D. Ripper to Keenan Wynn's turn as

ee 6 = Kong (he rides a nuclear warhead like a buck6 7 =the Doomsday Machine that will destroy all

Be, © © == apocalyptic absurdities, a no-holds-barred

oe wipe PSs fe Se ~- Bond movies in the 1960s) create a sense of

" » || ee f After the international success of Dr. 4 : Re ae fs | Mier if meee =—ot:ihis career. 2001: A Space Odyssey (1968) me oe ode = and research and marked a new maturity for Peter Sellers as Dr. Strangelove in Stanley Kubrick’s nightmare the science fiction film, as well as a new love the Bomb Gcea) on How tLearned'to Stop Worrying and sachmark for special effects. A Clockwork |

Orange (1971) vividly adapted Anthony Burgess’s dystopian novel about teenage hoodlums on the rampage, while Barry Lyndon (1975) redefined the historical epic with Kubrick’s insistence on period illumination only—candles, lamps, and the like—for all interior scenes. In Full Metal Jacket (1987), he showed the dehumanizing horror of basic training and hand-to-hand combat in the Vietnam War. If his last film, Eyes Wide Shut (1999), was problematic for many viewers, Kubrick had long since discharged his debt to the cinema.

Perhaps the film that put an end to the 1960s in Britain with the utmost finality is Nicolas Roeg and Donald Cammel’s justly notorious Performance (1970), in which ex-pop star Turner (Mick Jagger) lives in a dilapidated house in a rundown area of London, presiding over a peculiar ménage, in-

cluding Pherber (Anita Pallenberg) and Lucy (Michéle Breton). When 270

; THE 1960S EXPLOSION

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tally elected the head of a top Madison Avenue ad agency and turns the

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company upside down. Firing most of the agency’s staffers, Putney renames the shop the Truth and Soul agency, and begins creating a series of TV ads that are both brazen and effective. Soon, all of corporate America is flocking to Putney’s door, but ultimately the temptation of easy money is too pervasive and Putney sells out, fleeing the agency with a briefcase full of cash. Downey went on to write and direct the allegorical western Greaser’s Palace

(1972), and has since written and directed a number of equally idiosyncratic , features such as Rented Lips (1988) and Too Much Sun (1991). «

A SHORT HISTORY OF FILM

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The 1960s also saw the final films of many of the classical Hollywood directors who had worked in the industry since its infancy. Alfred Hitchcock’s last

v?)

: films were among his best, including the European-influenced horror picture The Birds (1963), in which large groups of birds attack a small California town without explanation, and Marnie (1964), a psychological study of a kleptomaniac that was unjustly dismissed when first released. Torn Curtain 1966) and Topaz (1969), both political thrillers, were perhaps less successful, but Hitchcock returned to form with the murder mystery Frenzy (1972), shot on location in England, before ending his career with the gently comic caper Family Plot (1976).

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John Ford’s epic work came to a graceful close with the racial drama e

Sergeant Rutledge (1960); the elegiac western Two Rode Together (1961); the remarkable “chamber western” The Man Who Shot Liberty Valance (1962), a film shot almost entirely on interior sound stages for precise control of camera movement and lighting; the knockabout comedy Donovan’s Reef (1963);

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Cheyenne Autumn (1964), one of Ford’s most sympa-

thetic fil the plight of Native A th

Tippi Hedren is attacked by The Birds in Alfred etic Tums on the piugnt oF ative “Americans in the Hitchcock’s classic film of 1963.

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with the speed with which Straub worked, the simplicity aver of his camera setups, and the bold originality of his vision. The Bridegroom, the Comedienne, and the Pimp tells (in

a typically fragmented way) the story of James (Jimmy Powell), a young African American soldier living in Munich who falls in love with Lilith (Lilith Ungerer), a prostitute who wants to escape her sordid life. The film is

one of the classics of the New German Cinema, and like Straub and Huillet’s The Chronicle of Anna Magdalena Bach, it had an electrifying effect on young filmmakers. Straub proved that one could make films cheaply and effectively with a minimum of financing, sets, or other physical properties. Fassbinder used his experience as an actor in the film to launch his own career, shooting in much the same manner: quickly, cheaply, and with a high degree of theatricality. His 1969 feature debut Liebe ist kdlter als der Tod (Love Is Colder Than Death), a downbeat crime drama with a typically pes-

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A SHORT HISTORY OF FILM

iting reduced to a minimum. Katzelmacher (1969) was shot in a mere nine days, telling the tale of a Greek immigrant who falls in with a group of slackers in Munich. Fassbinder began to churn out feature films with astonishing rapidity, often making three or more a year. Typically using a stock company of actors, he soon assumed an almost mythic status among its members. As Fassbinder’s films began to form a clear identity, he became a favorite at international cinema festivals, reveling in the attention he was receiving even when his work was met with boos. Warnung vor einer heiligen Nutte (Beware of a Holy Whore, 1971) is a backstage look at the mechanics of his filmmaking style, as the cast and crew of a movie wait around on location in a Spanish hotel for the arrival of their star and director so that shooting can begin. Eddie Constantine, so memorable as private eye Lemmy Caution in Godard’s Alphaville, plays himself as the star everyone is waiting for, while

| Lou Castel plays the director, Jeff, who is clearly modeled on Fassbinder | himself, right down to Fassbinder’s signature leather jacket. In 1972 Fassbinder scored one of his key early international successes | with the fatalistic Handler der vier Jahreszeiten (The Merchant of Four Seasons), which centers on the hapless Hans Epp (Hans Hirschmiiller), once a member of the French Foreign Legion and now a door-to-door greengrocer. _ When his wife tries to leave him, he has a minor heart attack and becomes increasingly despondent about the failure of his life to amount to anything. Hans finally goes to a bar and drinks himself to death, suffering a fatal heart attack as the other patrons watch with detachment. In the next few years, Fassbinder created a series of polished, Sirk-influenced films such as Die Bitteren Trdnen der Petra von Kant (The Bitter Tears of Petra von Kant, 1972), about the love life of a fashion designer; the fivepart television series Acht Stunden sind kein Tag (Eight Hours Are Not a Day, 1972), a family drama centering on the workplace; and a riff on Sirk’s 1955 All That Heaven Allows, Angst essen Seele auf (Ali: Fear Eats the Soul, 1974), in which a white sixty-year-old German cleaning woman, Emmi (Brigitte Mira), falls in love with a young black immigrant, Ali (El Hedi ben Salem). (Director Todd Haynes also paid homage to Sirk’s film in Far From Heaven

[2002], with Julianne Moore, Dennis Quaid, and Dennis Haysbert.) | Success as a filmmaker did little to temper Fassbinder’s view of life. Although he kept up the rapid pace of production, causing one critic to jokingly observe that Fassbinder and his colleagues made whole films on their lunch breaks, Fassbinder now began a downward personal spiral, drinking heavily and abusing drugs. His later work, such as the television movie Ich

304 ,

will doch nur, dafs thr mich liebt (I Only Want You to Love Me, 1976), Satans-

WORLD CINEMA 1970 TO THE PRESENT

braten (Satan’s Brew, 1976), and the aptly titled English-language feature Despair—Eine Reise ins Licht (Despair, 1978), starring Dirk Bogarde, continued the militantly gay director’s preoccupation with lost love, romantic betrayal, dissatisfaction with one’s life, and the seeming impossibility of happiness in

the modern world. | Fassbinder’s famously epic Berlin Alexanderplatz (1980), based on Alfred Doblin’s novel, chronicles the life of average man Franz Bieberkopf (Giinter Lamprecht), who is released from prison but finds that he cannot reintegrate himself into society, due to forces seemingly beyond his control. At 941 minutes, or more than fifteen and a half hours, this monumental project took a

full 154 days to film and was screened on German television in fourteen parts. The slight yet elegiac Lili Marleen (1981) followed, an elegantly staged period piece set in Nazi Germany, as a cabaret singer (Hanna Schygulla) becomes a Nazi icon when her hit single, “Lili Marleen,” becomes a sort of na-

tional anthem for the Nazi movement. Die Sehnsucht der Veronika Voss ( Veronika Voss, 1982) is about a fading Nazi movie star who after the war becomes a morphine addict. The director’s last film, Querelle (1982), based on the novel by the French writer Jean Genet, deals with a

Rainer Werner Fassbinder’s Die Sehnsucht de French sailor who comes to terms with his homosexual*2""" ; > taer

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ity after a visit to a spectacular brothel that fulfills his _ postwar career of a fading Nazi movie star in Fassbinder’s signature sardonic style.

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A SHORT HISTORY OF FILM | every fantasy. By this time, Fassbinder’s high-speed lifestyle was catching up

| with him. Overweight, drinking and smoking heavily, Fassbinder died of an

thirty-seven.

| overdose of cocaine and sleeping pills in a Munich apartment at the age of At the same time, Fassbinder’s contemporaries were making their mark. Hans-Jiirgen Syberberg made his first feature, Fiinfter Akt, siebte Szene. Fritz

Kortner probt Kabale und Liebe (Fritz Kortner Rehearses), in 1965; this was followed by Alexander Kluge’s Abschied von gestern—{ Anita G.) ( Yesterday Girl) and Volker Schléndorff’s Der Junge Torless (Young Torless, both 1966). Wim Wenders’s directorial debut was the drama Summer in the City (1970), and in

1978 Syberberg created one of the most ambitious films of the movement, Hitler—ein Film aus Deutschland (Our Hitler: A Film from Germany), a seven-

hour work that compares Hitler to King Ludwig of Bavaria and argues that both men were mad, with obsessive dreams of world conquest. Thus Syberberg seeks to interrogate the soul of Germany, arguing that there is some-

thing inherent in the German psyche that dreams of limitless dominion. Using a wide variety of theatrical devices, such as rear-screen projection, obvious studio sets, and minimalist props, Syberberg’s best films are ruminations on the desire for conquest and the chains forged by a nation’s history. Kluge, who started as an assistant to Fritz Lang in 1958 when Lang returned to Germany to make his last two films, also directed the political alle-

gory Die Artisten in der Zirkuskuppel: Ratlos (Artists under the Big Top: | Perplexed, 1968), the equally activist Gelegenheitsarbeit einer Sklavin (PartTime Work of a Domestic Slave, 1973), and the twelve-part investigative tract Die Macht der Gefiihle (The Power of Emotion, 1983), which examines how emotion operates in human relations. Like Fassbinder, Kluge is an intensely

political filmmaker, and Fassbinder even dedicated one of his later films, Lola (1981), to him. He is also responsible for coordinating the production of the omnibus film Germany in Autumn (Deutschland im Herbst, 1978), which incorporated the talents of Fassbinder, Schléndorff, Edgar Reitz, and other Neue Kino directors in a meditation on the political, social, and artistic climate of Germany in the late 1970s. Volker Schléndorff is one of the most commercially successful directors of the New German Cinema, and, not surprisingly, his films are more traditional. Der Plétzliche Reichtum der armen Leute von Kombach (The Sudden Wealth of the Poor People of Kombach, 1971), from a script by the actor and writer Margarethe von Trotta, was a substantial commercial and critical success and proved to be a turning point in Schlondorff’s career. He and von

306 ,

Trotta, who also appeared in the film, fell in love during production, and

WORLD CINEMA 1970 TO THE PRESENT

they married shortly after the shooting wrapped. Afterward they worked together on several projects, co-directing Die verlorene Ehre der Katharina Blum oder: Wie Gewalt entstehen und wohin sie fiihren kann (The Lost Honor of Katharina Blum, 1975). In 1979, Schléndorff’s Die Blechtrommel (The Tin Drum, 1979) became the first film from post-World War II Germany to receive an Academy Award as Best Foreign Language Film, signaling that the New German Cinema had finally broken through to mainstream audiences. He has since moved into more commercial fare with The Handmaid’s Tale (1990, based on the Margaret Atwood novel), Die Stille nach dem Schufs (The Legend of Rita, 2000), and Der Neunte Tag (The Ninth Day, 2004). In 1978 Von Trotta directed her first full-length solo project, Das Zweite Erwachen der Christa Klages (The Second Awakening of Christa Klages). This film, like most von Trotta films, focuses on a female protagonist. Based on a true story, The Second Awakening of Christa Klages is the story of an unlikely trio of thieves who pull off a robbery to aid an alternative day-care center. Her next film, Schwestern oder Die Balance des Gliicks (Sisters, or the Balance of Happiness, 1979), also met with great success, telling the tale of two sisters’

individual struggle for identity, each polarized by her associations with home and career. Both Die Bleierne Zeit (Marianne and Juliane, 1981) and Die Geduld der Rosa Luxemburg (Rosa Luxemburg, 1986) demonstrate von Trotta’s persistent and continued interest in issues of female identity and the philosophy of filmic “reality.” Marianne and Juliane is a narrative of two sisters’ lives in 1968 Germany as they fight for women’s rights in a revolutionary period of modern history, while Rosa Luxemburg re-creates (and, to a large extent, reinvents) the history of the revolutionary Rosa Luxemburg, a leading political activist of the Spartacus League, a splinter group of the Social Democrats in Germany in the early part of the twentieth century.

WERNER HERZOG

Werner Herzog directed his first short film, Herakles, using a stolen camera in 1962, when he was a freshman at the University of Munich. His first feature film, Lebenszeichen (Signs of Life, 1968), deals with the loneliness and isolation of three German soldiers who must guard an old bunker on a remote Greek island, while his second full-length film, Auch Zwerge haben klein angefangen (Even Dwarfs Started Small, 1970), uses a riot by a group of dwarfs locked in an institution to draw attention to the materialism of daily

, 307

life. But Herzog’s Aguirre, der Zorn Gottes (Aguirre: The Wrath of God, 1972),

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de Aguirre in Werner Herzog’s Aguirre, der Zorn Starring the cult actor Klaus Kinski as a crazed conquis-

Gottes (Aguirre: The Wrath of God, 1972). tador who searches for a treasure trove of gold in six-

teenth-century South America, was the film that put Herzog on the map. Shot in both English and German versions, the manic Kinski is superb as the crazed visionary who will let nothing stand in the way of his insane quest, no matter what the cost. Subsequent films consolidated Herzog’s reputation as an uncompromising and individualistic artist, such as Nosferatu: Phantom der Nacht (Nosferatu the Vampyre, 1979), with Kinski in the title role, in a remake of F. W. Murnau’s classic Nosferatu of 1922, and Fitzcarraldo (1982), in which an obsessed colonialist (Kinski again) determines to develop a trade route for ships in the Amazon jungle as well as to establish a grand opera company there. For Fitzcarraldo, Herzog took his crew on location for the shoot, which was insanely difficult; at one point in the film, Kinski’s character hauls a ship over the Andes Mountains, and to film it Herzog did just that. The film’s troubled production was documented in Les Blank’s Burden of Dreams (1982), which is almost as hypnotic as Herzog’s own film. Since then, his work has been more sporadic, but he

scored a commercial and critical hit with the bizarre documentary Grizzly Man (2005), which he created from existing archival footage, documenting the life of a young man obsessed with wild bears and their habitat.

308

WORLD CINEMA 1970 TO THE PRESENT

WIM WENDERS , Wim Wenders’s early films include the allegorical murder drama Die Angst

des Tormanns beim Elfmeter (The Goalie’s Anxiety at the Penalty Kick, 1972) | and the equally cerebral Alice in den Stadten (Alice in the Cities, 1974), about

an epic case of writer’s block. He later collaborated with Nicholas Ray on Lightning Over Water (1980) before coming to America to direct Hammett (begun in 1980, completed in 1982) for Francis Ford Coppola’s Zoetrope Studios; Coppola eventually took over production and reshot part of it, which ultimately satisfied no one. Wenders’s next American film, however, Paris, Texas (1984), was a commercial and critical hit, after which Wenders returned to Germany for the triumphal Der Himmel iiber Berlin (Wings of Desire, 1987), in which a group of angels look after the destiny of a man in postwar Berlin. The film is shot in gorgeously saturated black-and-white and color by Henri Alekan, who, among many other projects, had also shot Jean Cocteau’s Beauty and the Beast in 1946.

Wenders’s remarkable documentary Chambre 666 (Room 666, 1982) stems from placing a camera in a room during the 1982 Cannes Film Festival and then asking a wide range of directors, including Steven Spielberg, Rainer Werner Fassbinder, Chantal Akerman, Michelangelo Antonioni, Jean-Luc Godard, Yilmaz Giiney, Susan Seidelman, Paul Morrissey, and others to speculate on the future of cinema. Spielberg delivers an earnest monologue, while Godard, after delivering a few pointed observations, gets up and

turns off the camera. Wenders edits the material ruthlessly, giving an enlightening view of the cinema in a period of cultural and stylistic transition. Wenders has since directed the feature Am Ende der Gewalt (The End of Violence, 1997), an examination of brutality in the Hollywood cinema; the doc-

umentary Buena Vista Social Club (1999); one of the videos for the rock documentary U2: The Best of 1990-2002 (2002); the fatalistic drama Land of Plenty (2004); and a omnibus, multipart film, 8 (2007), which he co-directed

with Jane Campion, Jan Kounen, and Gaspar Noé. | NEW GERMAN VISIONS

In the years since the New German Cinema first exploded, a number of tal-

, 309

ented directors have appeared on the scene, such as Tom Tykwer, whose Lola __

rennt (Run Lola Run, 1998) is a race-against-time thriller in which Lola

A SHORT HISTORY OF FILM

(Franka Potente) must save her boyfriend from assassination by drug dealers. Deftly mixing animation, live action, digital special effects, and a lively rock score, Run Lola Run is notable for telling its story with three different scenarios. Doris Dorrie is best known for her feminist comedy Manner... (Men..., 1985); her earlier films, such as Im Innern des Wals (In the Belly of the Whale, 1985), represented a strong feminist vision within a more serious context. In the Belly of the Whale opens with the violent beating of teenager

Carla (Janna Marangosoff) by her policeman father, Erwin (Peter Sattmann), who alternates between brutalizing her and buying her expensive presents to compensate. Fed up, Carla leaves home to search for her mother, Marta (Silvia Reize), who ran away ten years earlier after also being repeatedly beaten by Erwin. When Carla finally tracks her down, she discovers Marta has become a prostitute. Returning home in despair, Carla is murdered by her father. The film’s uncompromising scenario reflects Dorrie’s own jaded view of relationships between men and women. Her other films

include Paradies (Paradise, 1986), Ich und Er (Me and Him, 1988), and Happy Birthday, Tiirke! (Happy Birthday, 1992).

CHANTAL AKERMAN

While the New German Cinema was a key movement in the period from 1970 to the late 1990s, spreading its stripped-down style around the world, filmmakers elsewhere were re-creating the cinema in yet another new form. The Belgian director Chantal Akerman came to the United States after quitting film school at home. Her first job was as a cashier for a porno theater in New York. Profoundly influenced by Jean-Luc Godard’s Pierrot le fou (1965), Akerman was determined to direct; she claimed to have stolen the money to finance her early film, Hotel Monterey (1972), a grim, completely silent look at a shabby welfare hotel. Here she expressed an interest in the transient na-

ture of modern urban life, with an eye toward spaces that underscore the discord of mobility; hotels, train stations, and the people who move within these spaces. Je, tu, il, elle UI, You, He, She, 1974), shot in stark black-and-white on a minimal budget, was Akerman’s breakthrough feature-length film, for which she also wrote the screenplay and played the lead role. The camera follows a

woman, Julie, who seems lost in a modern industrial world. In one scene, Julie sits at a table compulsively eating piles of sugar for no apparent reason; in the next scene, she hitchhikes, gets a ride from a trucker (Niels Arestrup),

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: . » Ner Various ar Panahis A ory Of a oun ' | afarwho P yneh (The h hy mina gg e street wi Mina, searches th .Mi van;997 oh ‘no , Mina hitch | sa b h : , es rides f . in | r10uUuS | wh cast, M om ou ax U wnen seems on thending v ; mothhhydd| | : a geo ter. The real Mina ( ss ne mov | ot an hr : he eCOM actress ted: th: Wantni megne do off th:ainin In disgust Pof | set st, _to|hey me. embers con -angie

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ven uses an : ot | ofeethe crew ropatt neh cast to ) : e

| WORLD CINEMA 1970 TO THE PRESENT Mina is resolute; she will find her mother on her own and get home without | any assistance. At first director Panahi is at a loss as to how to deal with the

situation, but he suddenly realizes that Mina is still outfitted with a wireless | microphone. As Mina wanders off on her own, Panahi instructs the crew to ! follow at a distance. Using telephoto lenses, they capture Mina’s journey through the streets of the metropolis as she continues to badger passersby | for assistance. Abruptly, all traditional cinematic cutting ceases, as Panahi simply loads one ten-minute 35 mm magazine of film after another into his

camera and relentlessly pursues Mina through an urban landscape of | | wrecked cars, semi-sympathetic bystanders, bewildered policemen, and unceasing pollution and noise. When the wireless microphone that Mina is

wearing shorts out, the film becomes silent; when it cuts back in again, we | a are allowed to hear the real-time sounds of the city. We realize that the film-

makers themselves have no idea what will happen next and have completely | abandoned any fictive framework; what we are seeing and witnessing now is

real and relatively unmediated. The first half of the film is a remarkable | _ achievement, but the second, near-documentary section of the film becomes , a trancelike meditation on the mechanics of reality and role-playing, in

. of Andy Warhol. | , |

_ which the camera’s insistent and impassive gaze recalls the early sound films

_ By 2006, however, the initial ardor of the Islamic revolution was begin- | ning to cool, and the most popular Iranian film was a Hollywood-style ro- -

mantic comedy, Tahmineh Milani’s Atash bas ( Cease Fire, 2006), which was a

massive hit with local audiences. The films of the Makhmalbaf clan, Abbas | | ‘Kiarostami, and other more serious Iranian filmmakers suddenly seemed of

interest only to academic audiences; for the general public, light escapist en- ,

' tertainment was popular once again, as it had been in the Shah’s era. |

| | TURKEY |

In Turkey, director Yilmaz Gtiney began his career as an actor and screen- | writer until his political activism landed him in jail. Emerging from prison | after eighteen months, he turned to acting full time and rapidly became a popular Bogart-like action hero in low-budget genre films. In 1966, he turned to directing, with his first important films coming in the early 1970s,

, such as Umut (Hope, 1970) and Baba (The Father, 1971). Made quickly and cheaply, Giiney’s films nevertheless had a personal urgency, based on his — own poverty-stricken childhood, which resonated with audiences. But he re-

| _ 347 ~

A SHORT HISTORY OF FILM | | mained a political lightning rod and was soon involved in a violent scuffle in a restaurant in which a local police official was killed. Although Giiney’s nephew confessed to the crime, Gtiney was sentenced to nineteen years in prison in 1975, but even this did not stop his career. He

wrote the screenplays for his most famous films, Siirii (The Herd, 1978), Diisman (The Enemy, 1979), and Yol (The Way, 1982) while incarcerated, smuggling them out to his associates to shoot from his detailed instructions. Giiney finally escaped from prison during the shooting of Yol in 1981, which Serif G6ren was directing from his shot-by-shot shooting script. Fleeing to Switzerland, Giiney completed the editing of Yol, released in 1982. As a po-

litical exile he was embraced by the French government, who funded his final film before his death, Duvar (The Wall, 1983).

THE DOGME MOVEMENT

Giiney’s revolutionary experimentation was echoed by the Danish directors Lars von Trier and Thomas Vinterberg with the creation of Dogme 95, a “back-to-basics” call to arms that ranks with the Oberhausen Manifesto of 1962 as one of the key texts in the history of cinema. On 22 March 1995, von Trier was scheduled to speak in Paris at the 100th Anniversary of Cinema conference on the future of cinema, but instead of presenting a talk he threw stacks of leaflets into the audience, announcing the birth of Dogme 95. The

| initial manifesto was brief and to the point, stating in part: The “supreme” task of the decadent filmmakers is to fool the audience.

, Is that what we are so proud of? Is that what the “100 years” have brought us? Illusions via which emotions can be communicated? ... By the individual artist’s free choice of trickery? As never before, the superficial action and the superficial movie are receiving all the praise. The result is barren. An illusion of pathos and an illusion of love.

To DOGME 95 the movie is not illusion! Today a technological storm is raging of which the result is the elevation of cosmetics to God. By using new technology anyone at any time can wash the last grains of truth away in the deadly embrace of sensation. The illusions are everything the movie can hide behind. DOGME 95 counters the film of illu-

sion by the presentation of an indisputable set of rules known as the | Vow of Chastity.

348

WORLD CINEMA 1970 TO THE PRESENT

these: |

_ The “Vow of Chastity,” signed by von Trier and Vinterberg, contained ten rules that aimed at simplifying the cinema, as part of a self-described “rescue action” to return motion pictures to their most basic origins. The rules were

1. Shooting must be done on location. Props and sets must not be brought in. (If a particular prop is necessary for the story, a location must be chosen where this prop is to be found.) 2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.) 3. The camera must be handheld. Any movement or immobility attainable in the hand is permitted. (The film must not take place

where the camera is standing; shooting must take place where , the film takes place.) 4. The film must be in color. Special lighting is not acceptable. (If

, there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.)

5. Optical work and filters are forbidden. ,

pons, etc., must not occur.) _

6. The film must not contain superficial action. (Murders, wea-

7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) 8. Genre movies are not acceptable. 9. The film format must be Academy 35 mm.

10. The director must not be credited. , Part joke, yet deadly serious at the core, the Dogme movement took Europe by storm, requiring a new level of authenticity that had all but been wiped out by decades of bloated spectacles, predictable genre films, and lackluster star vehicles. Note, too, the final rule: von Trier and Vinterberg decisively rejected the idea that the director could be the unspoken “star” of his or her film, a radical notion in itself. The first Dogme film was Vinterberg’s Festen (The Celebration, 1998), a handheld digital film about a disastrous family celebration in an enormous Danish mansion, with a large cast of characters, no conventional plot, and production values that bordered on the nonexistent. Nevertheless, the film was a compelling and harrowing experience, displaying considerable sophis-

349

A SHORT HISTORY OF FILM

tication in its construction and execution. Von Trier’s [dioterne (The Idiots,

1998) was a more experimental film, with a group of actors performing grotesque bodily gestures in public. Soren Kragh-Jacobsen’s Mifunes sidste sang (Mifune, 1999) was a fairly traditional narrative in which a man returns home to help his mentally challenged brother after the death of their father. In 1999, Harmony Korine directed Julien Donkey-Boy, chronicling the daily life of a decidedly unhappy family, featuring Werner Herzog as the father of

a young abused boy; it was the first American Dogme film. | Rules, of course, are made to be broken, and even on the first Dogme film, Celebration, Vinterberg confessed to covering up a window during one scene in the film, a direct violation of the rules. As the Dogme films continued to roll out, the novelty of the experiment began to wear off, but Lone Scherfig’s Italiensk for begyndere (Italian for Beginners, 2000), a light romantic comedy, became an audience favorite at numerous film festivals.

* * x Oo

If one considers that the first experiments in motion pictures as a visual medium date from the early 1880s, with the first public projection taking place in 1895, we have covered roughly 110 years of cinema production in this volume thus far. What comes next is the biggest single shift in cinema production and exhibition since the invention of the motion picture itself, a change more profound than the introduction of sound, color, CinemaScope, or any other refinements of the conventional cinematic process. Starting in the early 1990s, digital technology began appearing in movies in the form of hitherto unimaginable special effects, along with pioneering editing tools such as the Avid system that can “cut” movies by shifting segments of the digital file in nonlinear sequence. Suddenly, the cinema was in the range of everyone. Lightweight, inexpensive portable cameras with superior image quality proliferated. The digital _

revolution would transform the landscape in ways both large and small, helping to create mega-blockbusters with a plethora of spectacular visual ef- _ fects while giving even the most impoverished filmmaker the tools to pursue his or her vision. In the final chapter, we see how the Hollywood cinema developed from the 1970s through the turn of the twenty-first century, and

how this new technology has changed the face of the cinema forever.

350

THE NEW HOLLYWOOD

prces a new set of challenges, Hollywood continued to evolve in the

1970s. Filmmaking was becoming exponentially more expensive, a new system of ratings was in effect, and movie audiences were becoming younger

as parents increasingly stayed home to watch cable television and, in the | 1980s, videocassettes. As a result, spectacle began to rule at the box office and much of the experimentation of the 1960s was jettisoned in favor of formula films, though many remarkable American movies were still being made.

MARTIN SCORSESE AND FRANCIS FORD COPPOLA

Martin Scorsese first emerged as a major force in American cinema with | Mean Streets (1973). He consolidated his reputation with Taxi Driver (1976), which made a star out of Robert De Niro as psychotic cabbie Travis Bickle,

who slowly goes insane as he cruises the streets of nighttime Manhattan. Raging Bull (1980) also featured De Niro in a bravura performance as heavyweight boxer Jake LaMotta. Scorsese angered many fundamentalist Christians with the revisionist story line of The Last Temptation of Christ (1988), but since then his work has been strongly associated with plots involving the mafia. Goodfellas (1990) was one of his most accomplished films, a brutally violent mob drama; in Gangs of New York (2002), Scorsese set out to prove that nineteenth-century Manhattan was just as violent, if not more so, as the “mean streets” of modern-day New York. The Departed (2006), concerning the Irish mafia infiltrating and being infiltrated by the Massachusetts police,

won the Academy Award for Best Film of 2006 (and Scorsese his first, long | overdue Oscar as Best Director). Scorsese is also an outspoken advocate for film preservation and uses much of his personal fortune to rescue classic films that are on the verge of disintegration. 351

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A SHORT HISTORY OF FILM | | the full range of digital imaging technology in his films, even going so far as to reedit and reshoot sections of the first three Star Wars films, two of which he did not direct but controls the rights to. Thus an early movie in the series such as Irvin Kershner’s Star Wars: Episode V—The Empire Strikes Back (1980) has been successfully re-released to theaters with up-to-date special effects added.

HOLLYWOOD INDEPENDENTS

Another 1970s filmmaker of note in America was John Carpenter, whose career began with the science fiction movie Dark Star (1974), which he began

making as a student with virtually no budget at all. He then moved ontothe _ police action drama Assault on Precinct 13 (1976), one of the finest films of his career. As a disciple of Howard Hawks, Carpenter knew how to build an action sequence with judicious cross-cutting and detailed character development, and Precinct 13’s plot of a group of desperate people fighting for their lives in an abandoned, barricaded police station has clear links to such

wide. |

, Hawks classics as Rio Bravo (1959) and El Dorado (1966). Carpenter also edited the film himself under the pseudonym John T. Chance, the character

played by John Wayne in Rio Bravo. Made for $100,000 on a decidedly short schedule, Precinct 13 made a major impression on festival audiences world-

Carpenter followed with Halloween (1978), perhaps the first classic slasher film in a soon-to-be crowded subgenre. The movie cost roughly

$325,000 and eventually brought in an astounding $50 million, leading to a long string of sequels by other directors, and allowing Carpenter, for the moment, to pursue whatever project he pleased. He directed a television movie, Elvis, in 1979, then the ghost story The Fog (1980) and the futuristic science fiction action film Escape from New York (1981). But the film that most dramatically shaped Carpenter’s later career was The Thing (1982), a big-budget science fiction film that was a direct remake of the Hawks/Nyby 1951 original. Amped up with Rob Bottin’s spectacular special makeup ef-

fects, which were mostly done on the floor during shooting rather than added in post-production, The Thing tells the same story as the original picture: a group of scientists and researchers trapped in Antarctica’s endless winter are forcefully roused from their enforced hibernation when a large, unfriendly alien from another world crash-lands in their camp and starts killing them off one by one. To make matters worse, the Thing has the ability

358

THE NEW HOLLYWOOD

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them, the two women become outlaws, much to the consternation of the various male authority figures sprinkled throughout the film. But ultimately, as the women drive their car off the edge of a canyon to avoid capture by the police, the film’s message becomes muddled; why must they die in order to be free? Scott handles the material with his customary assurance, but the film is still a bone of contention for many observers. G. I. Jane (1997)

, is a feminist service drama in which Demi Moore toughens up to join a crack team of Navy SEALs despite the disapproval of her commanding officer, and Gladiator (2000) is a lavish historical drama of ancient Rome with

| eye-popping visual effects and a solid performance from Russell Crowe in the leading role. Black Hawk Down (2001) documents the carnage that fol-

lowed a failed U.S. military raid in Somalia. ,

As digital cinema became more commonplace, the stylization of films was pushed to new extremes. Graphic novelist Frank Miller collaborated with established directors Robert Rodriguez and Quentin Tarantino to create Sin City (2005), a neo-noir film that expertly blended comic book backgrounds with live actors to create a sort of living comic strip, albeit one with exceedingly dark overtones. In 2006, Zack Snyder’s 300, based on Miller’s

: graphic novel about the Battle of Thermopylae in 480 B.c.E., was an even more extreme example of comic book violence and nonstop action, eliminating plot and acting almost completely to create a sweeping vision of bloodlust run wild.

| | THE RESPONSE TO 9/11 Many Hollywood films became more overtly political in the wake of the

, 9/11 attacks on the World Trade Center and the Pentagon, but it took Hollywood five years to come to terms with the tragedy itself. Paul Greengrass’s United 93 (2006), which preceded Oliver Stone’s World Trade Center by four months, faithfully and painfully re-creates the events of that dark day, in which the hijacked passengers fought a group of terrorists to bring down their plane over a Pennsylvania field before it could do significant damage elsewhere. Despite the emotional subject matter, Greengrass’s direction is a

model of restraint, and his use of nonprofessional and unknown actors heightens the realism of the film, which emerges as an effective response to our shared need to understand the motives behind the worst terrorist attack

on American soil. | Controversy seems to fuel many films in the post-9/11 era. Michael 376

‘THE NEW HOLLYWOOD

Moore’s provocative documentary Fahrenheit 9/11 (2004) dissected the Bush administration’s reactions to the attacks and its subsequent conduct of

the wars in Afghanistan and Iraq; it became the most profitable documen- | tary of all time. In the same year, actor Mel Gibson used his own money to

fund the religious drama The Passion of the Christ, which also generated | record returns in the face of apprehensions that the film would spark a rise in anti-Semitism. Actor George Clooney took on the McCarthy era with the technically ambitious Good Night, and Good Luck (2005), which documents the fight of veteran CBS newsman Edward R. Murrow against Senator Joseph McCarthy, a leader of the Cold War anti-Communist witch hunts;

the film was an obvious comment on the responsibility of journalists (among others) to speak out against powerful government forces even in an age of fear.

THE CONGLOMERATES TAKE HOLLYWOOD

The last thirty-five years of twentieth-century American cinema have given birth to a wide variety of films and filmmakers, with the line between inde-

pendent films and studio productions often being blurred. In addition, a wave of mergers, corporate takeovers, and buyouts have shaken the industry, starting with Universal’s purchase by the talent agency MCA in 1962, and then moving through Paramount’s takeover by Gulf & Western Industries in 1966. The case histories of several of the major studios during this period

exemplify the trend toward hyper-conglomerization, in which the studios became just cogs in a larger wheel of media organizations that controlled vast empires of television, print, and Internet outlets. It was either adapt or perish, and the major companies realized that in changing times they had to ride the new wave of corporate takeovers.

Universal would change hands several times, sold to Japanese electronics | giant Matsushita in 1990 and in 1995 to Seagrams, a Canadian liquor distributor. In a head-spinning series of subsequent negotiations, the French media company Vivendi acquired Seagrams in 2000, to become Vivendi

Universal. But mounting debt proved too much, and Vivendi sold off Uni- , versal’s studio and theme parks to General Electric, the parent company of | NBC Broadcasting. Now known as NBC Universal, the studio functions as a production arm for the television network, in addition to making films for

theatrical release. Paramount went through an equally turbulent series of corporate identities after its acquisition by Gulf & Western; in 1994 Viacom,

377

A SHORT HISTORY OF FILM | | owner of the CBS television network, purchased the studio outright. However, Viacom announced in 2005 that it would split into two distinct entities: one for the CBS television and radio networks and another for production

of programming, which is now home to Paramount Pictures. 7 Warner Bros. was purchased by Kinney National Services in 1969 and _ began concentrating on big-budget co-production deals with major stars of

-- the era, such as Paul Newman, John Wayne, and Clint Eastwood. In the 1980s, Kinney abandoned its other interests, which included a chain of fu-

- neral parlors and parking lots, to concentrate solely on film production, a and in 1989 merged with Time, Inc., publishers of Time and Sports Illusa trated. In 2000, Internet service provider America Online (AOL) took over |

| Time Warner, and the firm was briefly known as AOL Time Warner, but , when AOL's stock took a hit in the dot-com crash, the company became Oo known simply as Time Warner. Rupert Murdoch’s News Corporation now

actions. | oo , - , a |

, owns Twentieth Century Fox, after a series of equally Byzantine trans-

oe Columbia Pictures was purchased by Coca-Cola in 1982 and announced | a new slate of family pictures that would include no R or X rated films; the . “rule was quickly broken when John. Badham’s action drama Blue Thunder

/ and John Carpenter’s horror film Christine both appeared with an R rating . in 1983. A complex series of negotiations and alliances followed, until the failure of Elaine May’s multimillion-dollar comedy Ishtar (1987) caused Coke to spin off Columbia Pictures as a stand-alone operation. In 1989, Co-.

| lumbia was sold to Sony. | | |

a MGM, once the ruling studio in the business, went through a series of

| humbling takeovers that stripped it of its film library, which went to media mogul Ted Turner; Turner used the collection as the backbone for his Turner _ Network Television (TNT) cable channel and later Turner Classic Movies

. _ (TCM). Turner had actually owned MGM/UA (MGM bought United Artists _

OT in 1981) for a brief time in 1985, but less than three months later he sold oo _ back the MGM name and United Artists to financier Kirk Kerkorian, while the famed MGM lot itself, home to studios for nearly a century, was sold to Lorimar Television. More heartbreak followed, as the Italian financier Gian- | carlo Paretti purchased MGM/UA, minus the film library; eventually owner-

SO ship of MGM/UA passed to the European banking firm Crédit Lyonnais | , because of financial problems, and then Crédit Lyonnais decided to sell _ MGM /DA again, once more to Kerkorian. In 2004, after a typically complex

: 378 | | |

series of transactions, MGM was sold to a consortium of investors headed by Sony, Providence Equity Partners, and the Texas Pacific Group, resulting

: THE NEW HOLLYWOOD in a super conglomerate that now combined MGM, UA, and Columbia all |

- umderone corporate umbrella. | }

All this wheeling and dealing is partly due to the immense cost of making

motion pictures in the present market, and partly to the current desire to

build media conglomerates that control vast empires of broadcasting, print, | - music, television, and film production, with the necessary means to distrib-

ute these products through newly emerging technologies, such as the World , Wide Web and cable television. “A” list stars routinely command $20 million

or more per picture; two or three “A” list personalities can push the produc- , tion cost of a film past the $60 million mark before a frame of film has been eo

| shot. Directors, too, command hefty salaries, running into the tens of mil- oe | lions of dollars per film, often in addition to “back end points,” a percentage a , of the film’s profits. The same often holds true for the stars. The studios are no longer the one-stop production centers they once were in the 1940s and _ 1950s; they now function basically as distribution and funding entities, pro- | viding the cash to green-light more commercial films and aggressively seek-

ing to promote “franchise” projects, such as the Superman, X-Men, and Fn Batman films, which seem assured of making continual profits. Studios today in Hollywood are really umbrellas for a variety of smaller production companies, where actors, directors, producers, and writers compete to get S

_ their projects funded and distributed to theaters. The ‘system of a stock group of actors, directors, and technicians belonging to-any one studio is a |

_ thing of the past; today, everyone is a free agent. , The Internet emerged as a viable tool for the promotion and even the

production of films with Daniel Myrick and Eduardo Sanchez’s The Blair | Witch Project (1999), a micro-budgeted movie that cost $35,000 and ulti- | mately grossed more than $240 million at the box office. David R. Ellis’s a campy action thriller Snakes on a Plane (2006) was extensively hyped using

the Internet, and some of the dialogue for the film was suggested by e-mail | Bo ‘correspondence to the film’s producers. Web downloads of feature films.on a | oe legal basis began in early 2006, and DVDs remain a potent market. Today,a |

film typically gets most of its revenue not from its initial theatrical run, but , rather through foreign theatrical playoff, cable television, pay-per-view (also - |

known as “on demand”), and DVDs, which now constitute most of the profit stream for Hollywood films. With the cost of exhibition rising daily, an _ DVDs and Web downloads look increasingly attractive, as consumers be- | | come more comfortable with digital technology and on-line purchasing. ©

Disney, for example, now licenses many of its shorts and cartoons for down- , load through Apple’s iTunes, and other studios are sure to follow the trend.

379. _ |

A SHORT HISTORY OF FILM

THE DIGITAL REVOLUTION

| Against this backdrop of hyper-conglomerization, Hollywood also had to compete with another new fundamental technological shift: the advent of digital photography. Briefly put, for the first hundred years of the cinema, all images had been generated on film, edited on film, and reproduced on film for final exhibition. Suddenly, all that changed. In the late 1980s, the Avid editing system was introduced, allowing editors to do away with film altogether and edit movies on a computer with remarkable ease, moving scenes

and shots with the flick of a finger rather than the long and laborious process of making physical edits entailed by a standard Moviola editing machine. In 1997, film editor Walter Murch reKeanu Reeves in Andy and Larry Wachowski’s science fiction ceived the Academy Award for his work on

allegory, The Matrix (1999). Anthony Minghella’s The English Patient

i. }|§;«;«&2~@2]@€©§©™©§7§4™™~=©=—™—™CSC=C=CS™«CS«€SCSCtiO~O~O—ONSSSsSsSsz‘ ‘CSS .

= See = 8=— the complex images and sound tracks of a i ———S—~SCThis flexibility now extended to thee ppro-

es fF) —Ss—i( duction process as well. Digital cinema-

gl ee 6 tography can be defined as the process of _ = =~ ___ movies could never have been created on = 7 film. Andy and Larry Wachowski’s The Ma-

-— Bg tix (1999) kicked off a series of computer

380 ,

ee i to depict the adventure of Neo (Keanu

THE NEW HOLLYWOOD

Reeves) as he battles the subterranean forces that seem to control the universe. With extensive use of “green screen” technology, in which back-

grounds and details within each shot are inserted after principal photography through the use of digital imaging, the Wachowskis created a

world at once fantastic and yet tangibly real, in which objects and people | seamlessly morphed from one incarnation to the next. George Lucas famously declared in 1999 that he would never shoot traditional film again,

because the results with digital video were far superior. For the moment, | most movies are still shot on 35 mm color negative film, but as the quality of the digital image increases, the days of film are almost certainly numbered. In the last few years, 16 mm film has generally died out as a viable production medium; 16 mm cameras and projectors, a mainstay of low-budget film production for three-quarters of a century, have all but been phased out. In place of 16 mm, digital video cameras offer a high-resolution image that is scratch-free, bright, and easy to manipulate in post-production. Mainstream twenty-first-century directors such as David Fincher, Robert

Rodriguez, and James Cameron see film as a thing of the past; they prefer to use high-end digital cameras to shoot the original visual material for their films. Although there are certainly aesthetic differences between the film and video image, if properly projected digital film is now almost indistinguish- |

able from film, and in the end it becomes subordinate to the content of the , movie itself. Nevertheless, especially with regard to production, digital imaging is a major platform shift in the history of the cinema. For most of the directors considered in the earlier chapters of this vol-

ume, the use of film was a given throughout the entire production and exhi- | bition process; this changed only slightly when television came along, and old movies began popping up there on a regular basis. Today’s directors can be called the “digital generation,’ because whether or not they shoot film or digital video, their films almost without exception pass through a digital ed- | iting stage and are then converted back to 35 mm film for final exhibition. The final phase in the digital revolution is digital projection, which is already a reality in a number of major cities throughout the world and which is poised to break out internationally just as sound did in 1927. Early evidence of the decline of film can be found in such movies as

Bryan Singer’s Superman Returns, Mel Gibson’s Apocalypto, Robert Altman’s | A Prairie Home Companion, Michael Mann’s Miami Vice, David Fincher’s Zodiac, and Frank Coraci’s Click (all released in 2006), which were shot entirely in digital video; conversion to 35 mm film was done simply to allow existing theater facilities to screen the film. Inevitably, this conversion will

, : 381

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made the industry aware of the potentia oi the new techno Ogy.

THE NEW HOLLYWOOD

about the sinking of the famous ocean liner that won a record-tying eleven Academy Awards, cost nearly $200 million, and made more than $600 million in the United States alone by September 1998; it has since racked up a fortune in DVD sales and overseas markets. Titanic was a triumph of digital filmmaking. The ship used in the film never left the harbor but was used as a model for all the impressive special effect set pieces that mark the film’s 194-

minute running time. Clearly Cameron’s vision had moved far beyond the

precincts of Roger Corman’s Venice, California, studio, where he started in |

ally enthralling. |

the late 1970s. His work as a digital filmmaker is both breathtaking and visu-

Steven Spielberg employed the technology in 1993 to present lifelike

cloned dinosaurs in Jurassic Park, and Robert Zemeckis used CGI to remove actor Gary Sinise’s legs to show him as an amputee war veteran in the film

Forrest Gump (1994). That movie also featured extensive use of archival footage digitally manipulated to make the title character (Tom Hanks) appear to interact with various historical figures such as President John FB. Kennedy. In 1995, CGI invaded the domain of traditional animation with John Lasseter’s Toy Story, the first fully computer-generated cartoon film, created by the Pixar Company and released through Walt Disney Produc-

tions. The film was a resounding success, and ink-and-print animation has } now almost been retired entirely from the screen. The final step, it would seem, is to create lifelike human characters for use

within a film. While this is already done with extras in crowd shots, who are | simply digitally copied and then mapped in as needed for large-scale scenes,

the first full-scale attempt to create believable human characters for a film, | | Hironobu Sakaguchi and Motonori Sakakibara’s Final Fantasy: The Spirits | | Within (2001), demonstrated that the technology still had a long way to go before becoming interchangeably convincing with the real world. It may be

that such “replacement of the real” will never be accepted by audiences. , While CGI can enhance a performance, by creating scenes and situations that formerly only matte photography and miniature work (as in the 1933 King Kong) could do, creating the human connections that audiences have

with Johnny Depp, Nicole Kidman, or other human actors would seem hard | to replace or relinquish. Nevertheless, in Peter Jackson’s Lord of the Rings trilogy (2001-03), the character of Gollum was created entirely by CGI technology and took “his” place as a leading figure in the story; in Peter Verhoe-

ven’s Starship Troopers (1997), visual-effects supervisor Phil Tippett’s monstrous arachnids were also created entirely by CGI technology, yet seemed to have as much substance as any of the human protagonists. In 383

A SHORT HISTORY OF FILM

Gore Verbinski’s Pirates of the Caribbean: Dead Man's Chest (2006), this final shift may already have taken place. Although actor Bill Nighy performed the role of Davy Jones for the camera with a “motion capture” suit on, in order

to give animators a reference point in their creation of his final on-screen character, nothing whatsoever of Nighy’s visual image remains in the final film; the entire performance is a digital construct.

***,

What sort of movies will be created using this new technology, which ex- tends from the moment of image capture to the projection of the final image on the screen? Other than effects-driven extravaganzas, the same films that have always moved audiences will continue to be the most popular with worldwide viewers: films that have strong narratives and tell compelling stories, with characters audiences can relate to. We have moved in this book through thousands of films and hundreds of filmmakers, all of them intent on bringing their personal visions to the screen, no matter what the genre or

production cost. The methodology and mechanics of the motion picture have been under constant revision since the first frames of film were shot by

Louis Aimé Augustin Le Prince in 1888; how could it have been otherwise? But the images and visions discussed in this text will now inform an entirely new generation of filmmakers, using digital technology from start to finish, as the cinema becomes ever more popular and moves smoothly into its second century of existence. It will be fascinating to see what happens next.

384

auteur theory: A critical theory, developed first in France in the 1940s, which holds that the director can be the primary creator of a film. However, the star, the production designer, the producer, or even the special effects supervisor (to name just a few possibilities) can also be the driving force behind the production. back projection: Projection of film onto a transparent screen, which serves as a background while the action is being shot. Most frequently used in car scenes in which the passing street is back-projected. This has been replaced in current technology by blue-screen or

added later.

green-screen imaging, in which performers act in front of a green or blue background and , only the images of their bodies are used; backgrounds and other visual materials are

blimp: A sound-deadening housing designed for movie cameras to ensure that they are quiet during filming and that the motor can’t be heard on the set. camera operator: The person who actually operates the camera on the set, under the instructions of the director and the director of photography. cinéma vérité: A style of filmmaking in which the camera simply documents the action in front of it, without interfering with the actors or participants, as in a documentary. There is no narration. Also known as direct cinema in England. CGI: Computer Generated Images, used today in films to depict crowd scenes, huge buildings, giant monsters, and other special effects that would be too costly or impossible to do otherwise. close-up: A shot that takes in the actor from the neck upward, or an object from a similarly

close position. , ,

crane: A piece of apparatus that can lift the camera vertically in the air.

depth of field: Depth of composition of a shot, e.g. where there are several planes, a fore-

ground, a middle ground, and a background.

depth of focus: A technical adjustment that ensures that a shot with depth of field remains in focus in all its planes. The technique of depth of focus was popularized by cinematographer Gregg Toland in Citizen Kane (1941), but it was used as far back as the early silent films of Alice Guy and D. W. Griffith. digital production: Shooting a movie entirely on digital video, post-producing it entirely using

video editing methods (such as the Avid editing system), and then projecting the final image onto the screen with a high intensity projector. Completely eliminates traditional

| 385 ,

35 mm film. The final three Star Wars films pioneered this technology; increasingly, many major and independent films also use this method of production.

GLOSSARY OF FILM TERMS

director. The person who is responsible for staging the action in a film, directing the actors, supervising the director of photography, and making sure that the performances and visuals of the film are effective. director of photography: The person who is responsible for the look of a film, supervising cam-

, era placement, lighting, and camera movement. dissolve. A gradual transition from one shot into another, so that at a certain point both images overlap and are visible simultaneously. Often used to suggest the passage of time.

editing. Splicing together a series of shots to create a scene in a film. establishing shot: A shot, usually at the beginning of a sequence, that establishes the location

of the action or the time of day. , executive producer: The person who arranges the financing for a film, and/or packages the

, stars, screenwriter, and other key elements of a film. , , fade in: A device used at the beginning of a sequence, where the image gradually lightens

from complete darkness. ,

fade out: Used at the end of a sequence, where the image gradually darkens to complete blackness.

film gauge: The width of the motion picture film used in the camera. The standard gauges are 35 mm (for theatrical features), 16 mm (for documentary and student films), and 8 mm (home movies). Only 35 mm is still used regularly today; digital video has replaced, for the most part, 16 mm and 8 mm film. film noir. A style of filmmaking, popular in the United States after World War II, which used harsh shadows, flashbacks, and voiceovers, and typically presented a downbeat, fatalistic view of society.

film rip: The film breaking or shredding in the projection gate during the screening of a film,

, or in the camera during the photography of a film. fast motion: A camera device whereby the movement of the action is speeded up, generally used for comic effects.

flashback: Occurs when the film’s forward narrative is interrupted by an event from the past, usually introduced by a character reminiscing about past events. Foley: Sound effects added in post-production to enhance the visuals, such as gunshots, footsteps, or explosions. freeze: An optical effect whereby one image is held for a time and the action seems to become

. a still photograph.

gaffer. The head electrician on a movie set. genre film: A film that follows a predictable plot pattern, such as a horror film, a western, or a musical. grip: A person on a film set who lays down dolly tracks, sets up lights, and generally does the hard physical work.

high angle shot: A shot from above that points down on the action. , insert: An inserted shot, usually a close-up, used to reveal something in greater detail. intercut shots: A series of shots that are alternated to create suspense, usually of two different

events happening at the same time; for instance, a plane about to crash into the ground

while horrified spectators in close-up look on. , irising. Gradual opening up or closing down of the image from or to a small point of light,

often used in silent film.

jump cuts: An abrupt cut from one scene to the next, or within a scene, to compress time and make the film move more quickly, e.g., Godard’s New Wave classic Breathless. long shot: Shot taken from some distance (usually not less than fifty yards from the action). low angle shot: Shot taken from below and pointing up at the action.

386

GLOSSARY OF FILM TERMS mask: A device for covering part of the screen with blackness, frequently used to create the effect of looking through binoculars or a keyhole. master shot: A wide shot in a film, usually of a group of people, performing a scene in its en-

tirety. This is usually shot first, and then individual close-ups of the actors are photographed to cut into the scene during editing. medium shot: A shot from five to fifteen yards, e.g., one that includes a small group of people in its entirety. montage: The structure of editing within a film. MTV editing. Named after the MTV video channel, a style of editing popularized in the 1980s that relies on rapid editing, jump cuts, speeded up motion, and multiple camera angles for dazzling effect, e.g., Oliver Stone’s Natural Born Killers. off-screen: Action or dialogue that occurs outside the area viewed by the camera

overexposed: Describes a shot in which more than a usual amount of light has been allowed to , reach the film, thus producing a blinding, glaring effect. overlap: Dialogue in which two or more characters speak simultaneously. ,

pan (or panoramic shot): A horizontal and circular movement of the camera on its pivot. . post-production: The editing, musical scoring, and final completion of a film after shooting.

Today, this routinely involves digital post-production to get rid of mike booms or scratches, to change facial expressions, “sweeten” visual backgrounds, or enhance exterior/interior locations. post-synchronize (a k a ADR [Automatic Dialogue Replacement] or post synching): To make a recording of the sound track for a film (especially of the dialogue) in a sound studio (as opposed to during the shooting of the film), with the actors speaking their lines in accompaniment to the projected film. producer. The person who supervises the production of the film, arranges the financing, hires the cast, director, and crew, and is responsible for keeping the film on schedule.

reverse motion: A trick effect that reverses the movements of the characters and objects. runner (aka go-fer or gopher): Person on the film set who runs errands, assists the other technicians, and does general chores.

rushes: The result of a day’s shooting when the film comes back from the laboratories after , development and has not yet been edited. Rushes are usually screened for the director each day during the shooting of a film. Also called “dailies.” shock cuts: The abrupt replacement of one image by another, usually for dramatic effect.

shooting script: The final script used by the director, technicians, and actors, with the complete breakdown of the scenario into separate shots. shot: The smallest unit in the grammar of film; one angle of a specific person or object within the film, before editing. soft focus: The effect obtained by gauze in front of the lens of the camera, which creates a hazy,

romantic effect, used often in films of the 1930s. stock shot (a k a stock footage): Shot taken from a film library that has been photographed for

another film, but which is spliced into a new film to save money or present a historical , event (e.g., scenes of Pearl Harbor or 9/11). studio system: In Hollywood from the 1920s to the late 1950s, the system by which each film

studio had a roster of actors, directors, composers, cameraman, costume designers, _ and the like on regular salary, under contract, to create their films on an assembly-line basis.

telephoto lens: A lens that magnifies like a telescope, bringing the object closer to the viewer without moving the camera.

tilt up, or down: when the camera tilts up toward the action, usually to exaggerate the author- ;

387

GLOSSARY OF FILM TERMS

ity or menace of a character; or tilts down, to indicate superiority, omniscience, or powerlessness.

track in, track back: A movement of the camera on a dolly (a tracking or traveling shot), toward or away from an object or character. underexposed: The opposite of overexposed, thus producing a dim, indistinct image. voiceover: Narration or dialogue presented on the sound track of a film to explain the film’s

action, plot, or characters. wide-angle lens: A lens with a wide range of field, which exaggerates depth and perspective. , wipe: A device whereby a line moves across the screen, replacing one image and introducing

another, e.g., in the Star Wars films.

zoom: A lens of variable focal length. It can, by gradually magnifying or reducing the image, give the effect of moving closer to or farther away from an object.

388

Akerman, Chantal DIRECTORS

Foster, Gwendolyn Audrey. Identity and Memory: The Films of Chantal Akerman. Carbondale:

Southern Illinois University Press, 2003. Margulies, Ivone. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham, N.C.: __ Duke University Press, 1996. Allen, Woody Blake, Richards A. Street Smart: The New York of Lumet, Allen, Scorsese, and Lee. Lexington: University Press of Kentucky, 2005. Desser, David, and Lester D. Friedman. American Jewish Filmmakers. Urbana: University of Illinois Press, 2004. Lax, Eric. Woody Allen: A Biography. New York: Da Capo Press, 2000.

Almodovar, Pedro D’Lugo, Marvin. Pedro Almodévar. Urbana: University of Illinois Press, 2006.

Altman, Robert oe

Sterritt, David. Robert Altman: Interviews. Jackson: University Press of Mississippi, 2000. Thompson, David. Altman on Altman. London: Faber & Faber, 2006.

, Antonioni, Michelangelo Brunette, Peter. The Films of Michelangelo Antonioni. Cambridge: Cambridge University

Press, 1988. ,

Arzner, Dorothy Mayne, Judith. Directed by Dorothy Arzner. Bloomington: Indiana University Press, 1994.

Bergman, Ingmar | Bergman, Ingmar. Bergman on Bergman. Trans. Paul Britten Austin. London: Secker & Warburg, 1973. Kalin, Jesse. The Films of Ingmar Bergman. Cambridge: Cambridge University Press, 2003. Michaels, Lloyd, ed. Ingmar Bergman’s Persona. Cambridge: Cambridge University Press,

2000. ;

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Rubinfeld, Mark D. Bound to Bond: Gender, Genre, and the Hollywood Romantic Comedy. Westport, Conn.: Praeger, 2001. Science Fiction Hardy, Phil, ed. Science Fiction. New York: Morrow, 1984. Hefley, Robert M., with Howard Zimmerman. Robots. New York: Starlog Press, 1979. Lucanio, Patrick. Them or Us: Archetypal Interpretations of Fifties Alien Invasion Films. Bloomington: Indiana University Press, 1987. Nicholls, Peter, ed. The Science Fiction Encyclopedia. Garden City, N.Y.: Dolphin Books/Doubleday, 1979.

Rose, Mark. Alien Encounters: The Anatomy of Science Fiction. Cambridge, Mass.: Harvard University Press, 1981.

Sobchack, Vivian. Screening Space: The American Science Fiction Film. 2nd ed. New

Spectacle Brunswick, N.J.: Rutgers University Press, 2001.

King, Geoff. Spectacular Narratives: Contemporary Hollywood and Frontier Mythology. London: I. B. Tauris, 2001.

Teen Films Betrock, Alan. The I Was a Teenage Juvenile Delinquent Rock ’w Roll Horror Beach Party Movie

, Book: A Complete Guide to the Teen Exploitation Film. New York: St. Martin’s Press, 1986.

Doherty, Thomas. Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s. Philadelphia: Temple University Press, 2002. Lewis, Jon. The Road to Romance and Ruin: Teen Films and Youth Culture. New York: Routledge, 1992. War

Eberwein, Robert, ed. The War Film. New Brunswick, N.J.: Rutgers University Press, 2005. DeBauche, Leslie Midkiff. Reel Patriotism: The Movies and World War I. Madison: University of Wisconsin Press, 1997. Doherty, Thomas. Projections of War: Hollywood, American Culture and World War II. New

York: Columbia University Press, 1993. |

Isenberg, Michael T. War on Film: The American Cinema and World War I, 1914-1941. Rutherford, N.J.: Fairleigh Dickinson University Press, 1981. Koppes, Clayton R., and Gregory D. Black. Hollywood Goes to War: How Politics and Propaganda Shaped World War IT Movies. New York: Free Press, 1987.

Lant, Antonia. Blackout: Reinventing Women for Wartime Britain Cinema. Princeton, N.J.: Princeton University Press, 1991. Schindler, Colin. Hollywood Goes to War. London: Routledge, 1979.

Westerns Bingham, Dennis. Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood. New Brunswick, N.J.: Rutgers University Press, 1994. Buscombe, Edward. The BFI Companion to the Western. New York: Atheneum, 1988.

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| BIBLIOGRAPHY Cawelti, John G. The Six-Gun Mystique. Bowling Green, Ohio: Bowling Green University Press, 1971.

Davis, Robert Murray. Playing Cowboys: Low Culture and High Art in the Western. Norman:

University of Oklahoma Press, 1992. ,

Frayling, Christopher. Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone. London: Routledge, 1981.

Kitses, Jim. Horizons West: Directing the Western from John Ford to Clint Eastwood. London: . British Film Institute, 2004. Mitchell, Lee Clark. Westerns: Making the Man in Fiction and Film. Chicago: University of Chicago Press, 1996. Tompkins, Jane. West of Everything: The Inner Life of Westerns. New York: Oxford University

Press, 1992. .

Wright, Will. Six Guns and Society: A Structural Study of the Western. Berkeley: University of California Press, 1975.

Women :

Acker, Ally. Reel Women: Pioneers of the Cinema 1896 to the Present. New York: Continuum, 1991.

Basinger, Jeanine. A Woman’s View: How Hollywood Spoke to Women, 1930-1960. New York: Knopf, 1993. Bean, Jennifer M., and Diane Negra, eds. A Feminist Reader in Early Cinema. Durham, N.C-.:

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Beauchamp, Cari. Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. New York: Scribner, 1997.

Flitterman-Lewis, Sandy. To Desire Differently: Feminism and the French Cinema. Urbana: University of Illinois Press, 1990.

Heck-Rabi, Louise. Women Filmmakers: A Critical Reception. Metuchen, N.J.: Scarecrow, 1984.

Kaplan, E. Ann. Looking for the Other: Feminism, Film, and the Imperial Gaze. New York:

tin’s/Griffin, 2000. , Routledge, 1997. ,

LaSalle, Mick. Complicated Women: Sex and Power in Pre-Code Hollywood. New York: St. Mar-

Mahar, Karen Ward. Women Filmmakers in Early Hollywood. Baltimore: Johns Hopkins University Press, 2006. Mayne, Judith. The Woman at the Keyhole: Feminism and Women’s Cinema. Bloomington: Indiana University Press, 1990. Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989. Petro, Patrice. Aftershocks of the New: Feminism and Film History. New Brunswick, N.J.: Rutgers University Press, 2002.

Quart, Barbara Koenig. Women Directors: The Emergence of a New Cinema. New York: Praeger, 1988.

Slide, Anthony. The Silent Feminists: America’s First Women Directors. Lanham, Md.: Scare- , crow Press, 1996.

REGIONAL AND NATIONAL CINEMAS

Africa :

Armes, Roy. Postcolonial Images: Studies in North African Film. Bloomington: Indiana University Press, 2005. ———. Third World Film Making and the West. Berkeley: University of California Press, 1992.

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BIBLIOGRAPHY | Armes, Roy, and Lizbeth Malkmus, eds. Arab and African Film Making. London: Zed Books, 1991,

Balseiro, Isabel, and Ntongela Masilela, eds. To Change Reels: Film and Culture in South Africa. Detroit: Wayne State University Press, 2003. Burns, James. Flickering Shadows: Cinema and Identity in Colonial Zimbabwe. Athens: Ohio University Press, 2002. Cameron, Kenneth M. Africa on Film: Beyond Black and White. New York: Continuum, 1994. Davis, Peter. In Darkest Hollywood: Exploring the Jungles of Cinema’s South Africa. Athens: Ohio University Press, 1996.

Diawara, Manthia. African Cinema: Politics and Culture. Bloomington: Indiana University Press, 1992. Foster, Gwendolyn Audrey. Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University Press, 1997.

Leaman, Oliver, ed. Companion Encyclopedia of Middle Eastern and North African Film. London: Routledge, 2001. Mayer, Ruth. Artificial Africas: Colonial Images in the Times of Globalization. Hanover, N.H.:

University Press of New England, 2002. , Pfaff, Francoise. Focus on African Films. Bloomington: Indiana University Press, 2004. Russell, Sharon A. Guide to African Cinema. Westport, Conn.: Greenwood, 1998. Tomaselli, Kenya G. The Cinema of Apartheid: Race and Class in South African Film. London: Routledge, 1989. Udeman, Adrienne. The History of the South African Film Industry, 1940-1971. Johannesburg: University of the Witwatersrand, 1972. Ukadike, N. Frank. Black African Cinema. Berkeley: University of California Press, 1993. ————. Questioning African Cinema: Conversations with Filmmakers. Minneapolis: University of Minnesota Press, 2002. Arab —

Cairo Press, 1998. ,

: Shafik, Viola. Arab Cinema: History and Cultural Identity. Cairo: American University in Asia

. Berry, Michael. Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press, 2005.

Ciecko, Anne. Contemporary Asian Cinema: Popular Culture in a Global Frame. New York:

Berg, 2006.

Dissanayke, Wimal, ed. Colonials and Nationalism in Asian Cinema. Bloomington: Indiana University Press, 1994. Server, Lee. Asian Pop Cinema: Bombay to Tokyo. San Francisco: Chronicle Books, 1995.

Australia McFarlane, Brian. Australian Cinema, 1979-1985. London: Secker & Warburg, 1987. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manches-

Brazil , ter University Press, 2000.

Johnson, Randal and Robert Stam, eds. Brazilian Cinema. New York: Columbia University Press, 1995.

404 |

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Canada , Press, 2004. , China :

Evans, Gary. In the National Interest: A Chronicle of the National Film Board of Canada from 1949 to 1989. Buffalo: University of Toronto Press, 1991. Gittings, Christopher E. Canadian National Cinema: Ideology, Difference, and Representation. New York: Routledge, 2002. Malnyk, George. One Hundred Years of Canadian Cinema. Toronto: University of Toronto

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Berry, Chris, ed. Perspectives on Chinese Cinema. London: British Film Institute, 1991.

Chi, Shugin. Women Through the Lens: Gender and Nation in a Century of Chinese Cinema. Honolulu: University of Hawaii Press, 2003. Hu, Jubin. Chinese National Cinema before 1949. Seattle: University of Washington Press, Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chi-

nese Cinema. New York: Atria, 2003. ,

Czechoslovakia

Hames, Peter. The Czechoslovak New Wave. New York: Wallflower, 2005. . | | Skvorechy, Josef. All the Bright Young Men and Women: A Personal History of the Czech Cin-

ema. Toronto: Martin Press, 1971. =

Whyte, Alistair. New Cinema in Eastern Europe. London: Studio Vista, 1971. , , France Armes, Roy. French Cinema. New York: Oxford University Press, 1985.

Bazin, André. Bazin at Work: Major Essays and Reviews from the Forties and Fifties. Trans. Alain Piette and Bert Cardullo. Ed. Bert Cardullo. New York: Routledge, 1977. Lanzoni, Rémi Fournier. French Cinema from Its Beginnings to the Present. New York: Continuum, 2002. Williams, Alan. Republic of Images: A History of French Filmmaking. Cambridge, Mass.: Har-

vard University Press, 1992. Germany Bergfelder, Tim, Erica Carter, and Deniz Goktiirk. The German Cinema Book. London: British Film Institute, 2002. Guerin, Francis. A Culture of Light: Cinema and Technology in 1920s Germany. Minneapolis: University of Minnesota Press, 2005. Hake, Sabine. Popular Cinema of the Third Reich. Austin: University of Texas Press, 2001. Kaes, Anton. From Hitler to Heimat: The Return of History as Film. Cambridge, Mass.: Har-

vard University Press, 1989. ,

Koepnick, Lutz P. The Dark Mirror: German Cinema between Hitler and Hollywood. Berkeley: University of California Press, 2002.

Kreimeier, Klaus. The UFA Story: A History of Germany’s Greatest Film Company 1918-1945. , Trans. Robert and Rita Kimber. New York: Hill and Wang, 1996.

Murray, Bruce. Film and the German Left in the Weimar Republic: From Calgari to Kuhle Wampe. Austin: University of Texas Press, 1990.

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2000. ,

Great Britain Aldgate, Anthony, and Jeffrey Richards. Britain Can Take It: The British Cinema in the Second World War. New York: Basil Blackwell, 1986.

Armes, Roy. A Critical History of the British Cinema. New York: Oxford University Press, 1978.

Ashby, Justine, and Andrew Higson. British Cinema, Past and Present. New York: Routledge,

Barnes, John. The Beginnings of the Cinema in England. New York: Barnes & Noble, 1976. Barr, Charles. All Our Yesterdays: 90 Years of British Cinema. London: British Film Institute, 1986.

Curran, James, and Vincent Porter. British Cinema History. Totowa, N.J.: Barnes & Noble, 1983.

Friedman, Lester D. Fires Were Started: British Cinema and Thatcherism. Minneapolis: University of Minnesota Press, 1992. - Gillett, Philip. The British Working Class in Postwar Film. Manchester: Manchester University Press, 2003.

Hill, John. Sex, Class, and Realism: British Cinema 1956-1963. London: British Film Institute, 1986.

Landy, Marcia. British Genres: Cinema and Society 1930-1960. Princeton, N.J.: Princeton University Press, 1991.

Lant, Antonia. Blackout: Reinventing Women for Wartime British Cinema. Princeton, N.].: Princeton University Press, 2001. Hong Kong

Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cam-

bridge, Mass.: Harvard University Press, 2000. Fu, Poshek, and David Desser. The Cinema of Hong Kong: History, Arts, Identity. New York: Cambridge University Press, 2000. Yau, Ching-Mei Esther. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis:

University of Minnesota Press, 2001. |

India Rajadhyaksha, Ashish, and Paul Willemen. Encyclopedia of Indian Cinema. London: British

| Film Institute, 1995.

fran Dabashi, Hamid. Close Up: Iranian Cinema, Past, Present, and Future. London: Verso Books,

Ireland | 2001.

2005. | ,

Hill, John, and Kevin Rockett. Film History and Nation Cinema. Dublin: Four Courts Press, MacKillop, James. Contemporary Irish Cinema: From the Quiet Man to Dancing at Lughnasa. Syracuse, N.Y.: Syracuse University Press, 1999. Mcllroy, Brian. Shooting to Kill: Filmmaking and the “Troubles” in Northern Ireland. Wiltshire:

Flicks Books, 1998.

406 ,

O’Brien, Harvey. The Real Ireland: The Evolution of Ireland in Documentary Film. New York: Manchester University Press, 2004.

Israel , ,

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wood, 2003. ,

Kronish, Amy, and Costel Safirman. Israeli Film: A Reference Guide. Westport, Conn.: Green- |

Italy Bertellini, Giorgio. The Cinema of Italy. New York: Wallflower, 2004. Bondanella, Peter. The Cinema of Federico Fellini. Princeton, N.J.: Princeton University Press, 1992.

Dalle Vacche, Angela. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton,

N.J.: Princeton University Press, 1992. Landy, Marcia. Fascism in Film: The Italian Commercial Cinema, 1931-1943. Princeton, N.J.: Princeton University Press, 1986. ——_—. Italian Film. Cambridge: Cambridge University Press, 2000. Marcus, Millicent J. After Fellini: National Cinema in the Postmodern Age. Baltimore: Johns

Hopkins University Press, 2002. | Japan Bock, Audie. Japanese Film Directors. London: Kodansha Europe, 1995. , Bowyer, Justin. The Cinema of Japan and Korea. New York: Wallflower, 2004. |

Burch, Noél. To the Distant Observer: Form and Meaning in Japanese Cinema. London:

Scholar Press, 1979. , Desjardins, Chris. Outlaw Masters of Japanese Film. London: I. B. Tauris, 2005. Desser, David. Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema. Bloomington: Indiana University Press, 1988.

Ehrlich, Linda C., and David Desser, eds. Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994. McDonald, Keiko I. Cinema East: A Critical Study of Major Japanese Films. Rutherford, N.J.: Fairleigh Dickinson University Press, 1983. Richie, Donald. The Japanese Movie. New York: Kodansha International, 1982.

Korea Bowyer, Justin. The Cinema of Japan and Korea. New York: Wallflower, 2004.

Kim, Kyung Hyun. The Remasculinization of Korean Cinema. Durham, N.C.: Duke University , Press, 2004. McHugh, Kathleen, and Nancy Abelmann, eds. South Korean Golden Age Melodrama: Gender,

Genre, and National Cinema. Detroit: Wayne State University Press, 2005. , Min, Eungjun, Jinsook Joo, and Han Ju Kwak. Korean Film: History, Resistance, and Democra-

tic Imagination. Westport, Conn.: Praeger, 2003. Shin, Chi-Yun, and Julian Stringer, eds. New Korean Cinema. New York: New York University Press, 2005.

Latin America

Hart, Stephen M. A Companion to Latin American Film. Rochester, N.Y: Tamesis, 2004. King, John. Magical Reels: A History of Cinema in Latin America. London: Verso Books, 1990. Martin, Michael T. New Latin American Cinema. Detroit: Wayne State University Press, 1997. Noriega, Chon. Visible Nations: Latin American Cinema and Video. Minneapolis: University of

Minnesota Press, 2000. , Shaw, Deborah. Contemporary Cinema of Latin America: The Key Films. New York: Continuum, 2003.

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Press, 2002. -ifornia Press, 1989.

Berg, Charles R. Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983. Austin: University of Texas Press, 1992. Foster, David W. Mexico City in Contemporary Mexican Cinema. Austin: University of Texas Mora, Carl J. Mexican Cinema: Reflections of a Society, 1896-1980. Berkeley: University of Cal-

Paranagua, Paulo Antonio, ed. Mexican Cinema. London: British Film Institute, 1996.

, Rashkin, Elissa. Women Filmmakers in Mexico: The Country of Which We Dream. Austin: University of Texas Press, 2001. Schaefer, Claudia. Bored to Distraction: Cinema of Excess in End-of-the-Century Mexico and Spain. Albany: State University of New York Press, 2003.

, Russia/USSR , Attwood, Lynne, ed. Red Women on the Silver Screen. London: Pandora, 1993. Goulding, Daniel J. Post New Wave Cinema in the Soviet Union and Eastern Europe. Bloomington: Indiana University Press, 1989. Youngblood, Denise J. The Magic Mirror: Moviemaking in Russia, 1908-1918. Madison: Uni-

| versity of Wisconsin Press, 1999.

Spain Kinder, Marsha. Blood Cinema: The Reconstruction of National Cinema in Spain. Berkeley: University of California Press, 1993. Marsh, Steven. Popular Spanish Film Under Franco: Comedy and the Weakening of the State. New York: Palgrave Macmillan, 2006.

United States of America |

Barson, Michael, and Steven Heller. Red Scared! The Commie Menace in Propaganda and Pop-

ular Culture. San Francisco: Chronicle Books, 2001. ,

Black, Gregory D. Hollywood Censored: Morality Codes, Catholics, and the Movies. New York:

Cambridge University Press, 1994. ,

Bodnar, John E. Blue-Collar Hollywood: Liberalism, Democracy, and Working People in Ameri-

can Film. Baltimore: Johns Hopkins University Press, 2003. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Modes of Production to 1960. New York: Columbia University Press, 1985. Doherty, Thomas. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema

, 1930-1934. New York: Columbia University Press, 1999.

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Hoberman, J. The Dream Life: Movies, Media, and the Mythology of the Sixties. New York: New Horowitz, Josh. The Mind of the Modern Moviemaker: 20 Conversations with the New Genera_ tion of Filmmakers. New York: Plume, 2006. James, David E. Allegories of Cinema: American Film in the Sixties. Princeton, N.J.: Princeton University Press, 1989. Kashner, Sam, and Jennifer McNair. The Bad and the Beautiful: Hollywood in the Fifties. New York: Norton, 2002. Kendall, Elizabeth. Runaway Bride: Hollywood’s Romantic Comedies of the 1930s. New York:

Knopf, 1990. ,

Leff, Leonard J., and Jerold L. Simmons. The Dame in the Kimono: Hollywood, Censorship, and the Production Code from the 1920s to the 1960s. London: Weidenfeld & Nicolson, 1990.

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Mast, Gerald, ed. The Movies in Our Midst: Documents in the Cultural History of Film in Amer- , ica. Chicago: University of Chicago Press, 1981. McCarthy, Todd, and Charles Flynn, eds. Kings of the Bs: Working Within the Hollywood System. New York: Dutton, 1975. Musser, Charles. The Emergence of Cinema: The American Screen to 1907. Berkeley: University of California Press, 1994. Schaefer, Eric. “Bold! Daring! Shocking! True!”: A History of Exploitation Films 1919-1939. Durham, N.C.: Duke University Press, 1999.

Schneider, Steven Jay. New Hollywood Violence. Manchester: Manchester University Press, 2004.

, 409 ,

BLANK PAGE

INDEX Abalov, Eduard, 323 The Adventures of Barry McKenzie, 326 allegorical films, 64, 147, 217, 227, 260, 287, Abandoned (a k a Abandoned Woman), 174 The Adventures of Captain Marvel, 118 | 292, 295, 298, 306, 309, 317, 322,

Abashidze, Dodo, 299 The Adventures of Dollie, 22 326, 339

Abbott and Costello Meet Frankenstein, 121 The Adventures of Robinson Crusoe, 209 Allemagne 90 neuf zéro (Germany Year 90

Die Abenteuer des Werner Holt (The Adven- The Adventures of Werner Holt, 297 Nine Zero), 320 |

tures of Werner Holt), 297 advertisements, 9 Allen, Dede, 274

Abismos de pasion, 209 Advise & Consent, 197 ~ Allen, Joan, 364

About a Boy, 319 Aelita (Aelita: Queen of Mars), 77, 78 Allen, Woody, 187, 360-361, 361 A bout de souffle (Breathless), 242-243, 243, Africa, 88, 332-336 Alley, Kirstie,.366

254 African American filmmakers, 368-372 All for Mary, 224 |

Abraham, F. Murray, 315, 334 African Americans, 24—25, 45—47, 51, 134 All Night Long, 312 Abschied von gestern—( Anita G.) ( Yesterday African Institute of Cinematography, 333 all-star films, 113

Girl), 306 ‘A’ gai waak (Project A), 336 All That Heaven Allows, 191, 304

absurdist films, 322 LAge dor (The Age of Gold), 62, 62, 142 Almirante, Mario, 146 ,

The Abyss, 382 | agents, 173 Almodovar, Pedro, 321

Academy Awards, 39, 92, 117, 136, 150, 162, The Age of Gold, 62, 62, 142 Der Alpenjiiger (The Alpine Hunter), 78

177, 183, 193, 208, 213, 214, 217, agit-prop films, 247 | Alphaville, une étrange aventure de Lemmy

. 233, 236, 253, 257, 260, 261, 264, “agit-prop” trains, 70-71 Caution (Alphaville), 245, 246 267, 278, 294, 295, 307, 316, 318, Aguirre, der Zorn Gottes (Aguirre: The Wrath The Alpine Hunter, 78

331, 344, 351, 356, 367, 380, 383 of God), 307-308, 308 Alskande par Loving (Couples), 257 “Academy leader,” 231 DAigle a deux tétes (The Eagle Has Two Alskarinnan (The Mistress), 258

-Accident, Accattone, 268 Heads), 143 | Altered States, 316 | 268 Aiging wansue ( Vive amour), 338 Altitude 3,200 (Youth in Revolt), 57 Acres, Birt, 6 Air Force, 100 Altman, Robert, 359-360, 381 :

Across the Pacific, 121 Akaler Sandhane (In Search of Famine), 330 _ Alton, John, 96 .

action comedies, 354 Akerman, Chantal, 309, 310-312 Alvarez, Santiago, 293

“action” directors, 291 Akinshina, Oksana, 322 Always, 354 |

action dramas, 104, 163, 167, 204, 356, 358 Aktorzy prowincjonalni (Provincial Actors), Les Amants de Mogador ( The Lovers of

| action films, 366-367, 372, 373, 376 324 | Mogador), 334 Action in the North Atlantic, 134 Alam Ara (The Light of the World), 164 Amarcord, 257

action serials, 78, 118 Albertazzi, Giorgio, 249 Ambavi Suramis tsikhitsa (The Legend of the action thrillers, 322, 326, 336-337, 379 Al di la delle nuvole (Beyond the Clouds), 283 . Suram Fortress), 299

. actors, 20, 23, 27, 67, 121, 138, 153, 171, 172, Aldrich, Robert, 141 — , Amblin’, 354 178, 179, 180, 204, 207, 236, 336, Alekan, Henri, 309 Amblin Productions, 356 | 337, 357, 383. See also comedians; Aleksandr Nevsky (Alexander Nevsky), 76, 76 Ambrosio, Arturo, 20

contract players; “Diva” cinema; ex- Aleksandrov, Grigori, 75, 163 Amélie, 320 tras; “models”; nonprofessional ac- ° Alexander, 364 | Am Ende der Gewalt (The End of Violence),

tors; stars; stock companies Alexander Nevsky, 76, 76 309

The Acts of the Apostles, 313 Algeria, 333 American films. See Hollywood; Latin Amer- | “actualities,” 78 Al Hassan Ibn Al Haitham, 1 . ica; New American Cinema; United Adam, Ken, 270 Alice in Cartoonland series, 126 States Adam’s Rib, 113 Alice in den Stédten (Alice in the Cities), 309 American Graffiti, 212, 357 )

The Addiction, 373 Alice in Wonderland, 268 An American in Paris, 196 . The Adventure, 215, 216, 216, 259 Alien, 263, 375 American International Pictures, 34, 190

adventure films, 121, 354, 354 Ali: Fear Eats the Soul, 304 American Psycho, 368

: The Adventures of Baron Munchausen, 154 All About My Mother, 321 An American Tragedy, 75

«AT

INDEX

America Online (AOL), 378 Ansiktet (The Magician), 207, 208 assembly-line production, 10, 28-29 Les Ames au soleil (Souls under the Sun), 335 anti-Communism, 178-182, 191 assistant directors, 15, 194, 210, 212, 314,

Ames de fous (ak a Ames d’hommes fous), 56 anti-Semitism, 377 | 343, 344 Le Amiche ( The Girlfriends), 215 antitrust laws, 172 Astaire, Fred, 93, 196, 196

Amistad, 356 antiwar films, 233, 257, 269 Astor, Mary, 121, 125

L-Amore ( Ways of Love), 169-170 Antonio das Mortes, 292 Astruc, Alexandre, 239 Amores perros (Love’s a Bitch), 344 Antonioni, Michelangelo, 160, 215-216, - LP Atalante, 63, 64, 145 Amour et restes humains (Love e& Human Re- 259-260, 268, 282-283, 309 Atash bas ( Cease Fire), 347

mains), 329 Any Given Sunday, 364 At Five in the Afternoon, 346

L’Amour fou (Mad Love), 253 AOL, 378 Athlete with Wand, 8 Les Amours de la reine Elisabeth (Queen Eliza- — Aparajito (The Unvanquished), 210 Atlanta, 134 beth), 23, 24 The Apartment, 201 atmosphere, 162, 254, 340

Amphitryon (Amphitryon—Happiness from “A” pictures, 90, 119, 155 At the Circus, 133

the Clouds), 154 Apocalypto, 381 Atti degli apostoli (The Acts of the Apostles), anaglyph process, 185 Apollo 13, 373 313 anamorphic processes, 184 Applause, 95 Auch Zwergen haben klein angefangen (Even

Anatomy of a Murder, 197 The Apple, 246 Dwarfs Started Small), 307 Anders, Allison, 367 Apple computers, 379, 380 Auden, W. H., 152 Anderson, Gilbert M. “Broncho Billy,” 18, 38 A propos de Nice ( Nizza), 63 Audition, 340

Anderson, Leonard, 47 Apu Sansar (The World of Apu), 210 Audran, Stéphane, 250

Anderson, Lindsay, 145, 264, 265 Arab films, 237 Audry, Jacqueline, 230 Andersson, Bibi, 207, 255, 256 Arau, Alfonso, 344 El Aura (The Aura), 343 And God Created Woman, 232, 239 Arbuckle, Roscoe “Fatty,” 35, 40 Auric, Georges, 143

And Love Has Vanished, 297 Arcand, Denys, 329 . Australia, 21, 326-327

Andrei Rublev, 323 Archers, 149 Autant-Lara, Claude, 184 Andreotti Law, 171 architects, 156 ~ auteur theory, 187-195 Andresen, Bjérn, 262 archival footage, 308, 370, 383. See also film authenticity, 349

Andress, Ursula, 261 archives Autorenfilm, 78

Andrews, Dana, 122 Arestrup, Niels, 310 avant-garde, 57, 62, 231, 283, 286 Andrey Rublyov (Andrei Rublev), 323 L-Argent (Money) [1928], 57 Les Aventures de baron de Munchhausen

And Then There Were None, 142 L-Argent (Money) [1983], 319 (Baron Munchhausen’s Dream), 12 Andy Hardy series, 92 L-Argent de poche (Small Change), 257 Avery, Tex, 128-129

And Your Mother Too, 344 Argentina, 293, 343 | aviation dramas, 99 ,

An Angel at My Table, 328 Argento, Dario, 315 Avid editing system, 350, 380 El Angel exterminador ( The Exterminating Armat, Thomas, 6, 30 LAvventura (The Adventure), 215-216, 216,

Angel), 291 LArmata azzurra (The Blue Fleet), 159 259 Anger, Kenneth, 284 Armored Attack, 134 295, 299, 323, 331, 346. See also

Angel Face, 197 LArmée des ombres ( The Shadow Army), 254 awards, 163, 165, 209, 222, 223, 231, 249, 291,

Angola, 333 Armstrong, Gillian, 326 Academy Awards; and by name of Angry Harvest, 325 Armstrong, Louis, 130 festival or institution

Die Angst des Tormanns beim Elfmeter (The Arnold, Jack, 197 Awdat al ibn al dal (The Return of the ProdiGoalie’s Anxiety at the Penalty Kick), Arrival of a Train at La Ciotat, 7, 7 gal Son), 332

309 VArrivée dun train a La Ciotat (Arrival of a Ayneh (The Mirror), 346

Angst essen Seele auf (Ali: Fear Eats the Soul), Train at La Ciotat), 7, 7 Az En XX. Szdzadom (My Twentieth Cen-

304 DArroseur arrosé (Tables Turned on the Gar- tury), 326

Animal Crackers, 133 dener), 6, 7 Animal Farm, 224 Arrowsmith, 97 Baadasssss!, 371 animated films, 126—~130 Arruza, 194 Baara ( Work), 333

animation, 19, 67, 145, 234, 236, 310, 383, art directors, 188, 254 Baba (The Father), 347 384. See also computer-assisted ani- Arthur, George, 223 Baba Areess (Father Wants a Wife), 237 . mation; “direct cinema”; stop- Die Artisten in der Zirkuskuppel: Ratlos Babbit, Jamie, 368

motion photography (Artists under the Big Top: Per- Babenco, Hector, 342 animators, 126, 128, 224-225, 234, 236 plexed), 306 | Babe: Pig in the City, 326

animé, 339 Arzner, Dorothy, 122—124, 187, 195 Babo 73, 287

Annabelle the Dancer, 8 A Santanotte (On Christmas Eve), 67 Baby Face, 131, 131 Anna Christie, 49 Ascenseur pour l’échafaud (Elevator to the Bacall, Lauren, 100, 101, 121, 179

Anna Karenina, 49 Gallows, ak a Frantic), 251, 252 backdrops, 234

LAnnée derniére a Marienbad (Last Year at al-Asfour (The Sparrow), 332 “back end points,” 379 Marienbad), 248—249, 249 Ashes and Diamonds, 235, 235—236 backgrounds, 381

Annie Hall, 360 Ashugi-Karibi (The Lovelorn Minstrel), 299 Backroads, 327 Anobile, Richard J., 276 Asia Motion Picture Company, 164 backstage melodramas, 105 A nous la liberté (Liberty for Us), 58, 59, 60, Askoldov, Aleksandr, 323 Back Street, 125

104, 142 Asquith, Anthony, 223 Back to Bataan, 119

Anschutz, Ottomar, 2 Assault on Precinct 13, 358 Bacon, Lloyd, 134 412

INDEX

_ Bad Education, 321 Bayne, Beverly, 35 Berry, John, 181 Badger, Clarence G., 38 Bazin, André, 187 Bertolucci, Bernardo, 315

Badham, John, 364, 378 The Beatles, 267 Bessie, Alvah, 179

Bad Lieutenant, 373, 373 Beatty, Warren, 274, 274 The Best Years of Our Lives, 113, 122, 122

bad taste, 361-362 Beaumont, Hugh, 175 La Béte humaine (The Human Beast), 139 Bad Taste, 328 Le Beau Serge (Bitter Reunion), 249 The Betrayal, 47 | BAFTA, 299 La Beauté du diable (Beauty and the Devil), A Better Tomorrow, 336 al-Bahths an Al-Sayyid Marzug (The Search 142 | Betty Boop cartoons, 130 of Sayed Marzouk), 333 Beauties of the Night, 142 Beware of a Holy Whore, 304 Bai mao nu (The White-Haired Girl), 165 A Beautiful Mind, 373 The Beyond, 315 Baisers volés (Stolen Kisses), 242 Beauty and the Beast, 143, 144 Beyond the Clouds, 283 Balcon, Michael, 148, 153, 218 Beauty and the Devil, 142 Bez znieczulenia ( Without Anesthesia), 324

Ballad of a Soldier, 235 Becky Sharp, 96 Bhuvan Shome (Mr. Shome), 330

Ballada o soldate ( Ballad of a Soldier), 235 Bed and Sofa, 77 Die bian (The Butterfly Murders), 337

Ballerina, 57 Bedazzled, 268 Bian zou bian chang (Life on a String), 339 The Balloonatic, 36 Beery, Wallace, 92 biblical films, 184

ballet films, 225 The Bed Sitting Room, 267 Biberman, Herbert, 179

Baltimore, 362 . Beetlejuice, 374 Les Biches (The Does), 250

Bambi, 127 Before the Revolution, 315 The Bicycle Thief, 168, 210

Bamboozled, 369 Beggars and Proud Ones, 333 Il Bidone (The Swindle), 213 Bananas, 360 “behemoth” films, 291 Bielinsky, Fabian, 343 Bancroft, Anne, 289 Beijing Film Academy, 338 The Bigamist, 195 Banderas, Antonio, 321 O Beijo da Mulher Aranha (Kiss of the Spider The Big Chill, 366

_ The Bandit Makes Good, 18 Woman), 342 Bigelow, Kathryn, 223, 366-367 Bandit Queen, 331 Beiging chengshi (A City of Sadness), 337, 338 The Big Fisherman, 118 Bangkok Dangerous, 337 | Beizai, Bahram, 345 The Big Heat, 197 Banshun (Late Spring), 205, 205 Belafonte, Harry, 197, 197 The Big Lebowski, 365

Bara, Theda, 35 Balazs, Béla, 156 The Big Red One, 290 The Barbarian Invasions, 329 Belgium, 310-313 The Big Sleep, 100, 101 Barbera, Joseph, 129 Bell, Monta, 49 The Big Trail, 97

The Barber Shop, 7 La Belle et la béte (Beauty and the Beast),143, __ biker films, 190, 266, 278, 366

Bardot, Brigitte, 232, 244, 252 144 Bila jednom jedna zemlja (Underground), 325 Bariera (Barrier), 295 Belle of the Nineties, 132 Billard, Pierre, 239 Barker, Robert, 3 Les Belles de nuit (Beauties of the Night), 142 Billions, 35 Barrandov Studios, 296 The Belles of St. Trinian’s, 219, 220 A Bill of Divorcement, 113

Barrault, Jean-Louis, 232 Bellissima, 216 Billy Liar, 267

Barravento (The Turning Wind), 292 Belmondo, Jean-Paul, 243, 243, 245 Biograph, 21, 29, 30

Barreto, Bruno, 342 Bemberg, Maria Luisa, 343 biopics, 196, 252, 316-317, 328, 370, 373

Barrier, 295 Ben-Barka, Souheil, 334 Bioscope, 6

Barry Lyndon, 270 Bendix, William, 175 The Birds, 288, 288

Barrymore, John, 92, 99 Benedek, Laszl6, 190 Birds and Greyhounds, 298 Bartlett, Scott, 283 Ben-Hur, 48, 48, 275 The Bird with the Crystal Plumage, 315

Barton Fink, 365 Benigni, Roberto, 315 The Birth Mark, 45 .

. Barua, P. D., 164 Bennett, Joan, 104 The Birth of a Nation, 15, 24-25, 25 Basic Instinct, 322 Benny, Jack, 106-107, 119 The Birth, the Life, and the Death of Christ, I Basilischi (The Lizards), 314 Benoit-Lévy, Jean, 57 14-15, 15 Bass, Saul, 276 ben Salem, El Hedi, 304 Biswas, Chhabi, 211 Bassermann, Albert, 153 benshi, 85-86, 337 The Bitch, 65, 65 Bataan, 134 Berenson, Marisa, 335, 335 Bittere Ernte (Angry Harvest), 325

La Batalla de los Tres Reyes (Drums of Fire), Beresford, Bruce, 257, 326 Die Bitteren Trénen der Petra von Kant ( The

334 Berggren, Thommy, 258 Bitter Tears of Petra von Kant), 304

Batchelor, Joy, 224-225 Bergman, Ingmar, 70, 206—208, 255-257, Bitter Moon, 295

Batman, 374 258, 360, 361 Bitter Reunion, 249

Batoru rowaiaru (Battle Royale), 340 Bergman, Ingrid, 113, 135, 135, 170, 232 Bitzer, G. W. “Billy,” 23

Batoru rowaiaru I: Chinkonka (Battle Royale Berkeley, Busby, 91, 93 Blaché, Herbert, 15, 27 :

ID, 340 Berkeley, Martin, 181 black-and-white, 96, 191, 198, 206, 223, 232, .

La Battaglia di Algeri (The Battle of Algiers), Berlin Alexanderplatz, 305 244, 261, 262, 268, 272, 275, 294,

261-262 Berlin: Die Sinfonie der Grostadt (Berlin: 309, 310, 322, 352, 356, 364, 368, 369

The Battle of Algiers, 261-262 Symphony of a Great City), 85, 165 Blackboard Jungle, 196

The Battle of San Pietro, 121 Berlin Film School, 302 Black Cat, White Cat, 325

Battle Royale, 340 Berlin: Symphony of a Great City, 85, 165 black comedies, 218, 269

Battle Royale IT, 340 Bernard, Paul, 147 The Black Dahlia, 374

| 413

Battleship Potemkin, 73-75, 74 Bernhardt, Sarah, 23, 24 Black Girl, 300, 300 | Bava, Mario, 263 Beréringen (The Touch), 256 Black Hawk Down, 376

INDEX : blacklist, 180-181 | Bolshevik Revolution, 70 The Bride Wore Black, 242 Blackmail, 69 Bombay, 163 The Bridge, 233 Black Maria, 10, 11 Bombay Talkies, Ltd., 164 Bridges, Lloyd, 181 Black Narcissus, 149, 225 Bond, Ward, 178 Brief Encounter, 149, 150

The Blackout, 373 Le Bonheur (Happiness), 251 Brightness, 333 ,

Black Rain (The Last Wave), 326 Bonnie and Clyde, 274, 274-275 Brignone, Guido, 68, 159

Black Shirt, 159 “booms,” 95, 123 Das Brillantenschiff (The Diamond Ship), — Blacksmith Scene, 7 Boorman, John, 278 81 Black Snake Moan, 372 Borelli, Lyda, 67 Bringing Up Baby, 100, 100 Black Sunday, 263 Borgnetto, Luigi Romano, 68 Brink of Life, 207 Blade Runner, 82, 375 Born on the Fourth of July, 363 British Board of Film Censors, 221 The Blair Witch Project, 379 Born to Be Kissed, 132 British Instructional Films, 152

Blaise Pascal, 314 Borom Sarret, 299, 300 British national cinema, 87—88, 148, 181,

Blank, Les, 308 Borzage, Frank, 117-118 218-225. See also England

Blasetti, Alessandro, 159 Bose, Debaki, 164 British New Wave, 267. See also Free Cinema

Der Blaue Engel (The Blue Angel), 115 Bottin, Rob, 358 Movement

Das Blaue Licht (The Blue Light), 156 Bouamari, Mohamed, 333 Britten, Benjamin, 152, 317

Bleak Moments, 318 Le Boucher (The Butcher), 250 Broken Arrow, 337

Die Blechtrommel (The Tin Drum), 307 Boudu sauvé des eaux (Boudu Saved from Broken Flowers, 365

Die Bleierne Zeit (Marianne and Juliane), Drowning), 66, 137 | The Broken Journey, 330

307 Bouzid, Nouri, 334 Bronenosets Potyomkin (Battleship Potemkin), “blimps,” 95, 185 Bow, Clara, 38, 123 73-75, 74

blind bidding, 40 Bowery Boys comedies, 34 Bronson, Charles, 191, 264 Blinkity Blank, 236 Box, Muriel, 222—223 Brook, Clive, 68, 116 block booking, 40, 87, 172 Box, Sydney, 223 Brooks, Louise, 85 blockbusters, 173, 353-358, 364 Boxing Cats, 9 Brooks, Richard, 196 Blonde Venus, 116 Boxing Match, 9 The Brother from Another Planet, 366 Blood and Black Lace, 263 box office, 318, 379 Brown, Bruce, 286

Blood and Roses, 232 Boyer, Charles, 113 Brown, Clarence, 49 Blood and Sand, 123, 193 Boyz n the Hood, 372 Browning, Tod, 39, 91, 95 : The Blood of a Poet, 142-143, 143 “B” pictures, 90, 154, 172, 183, 342, 366 Brownlow, Kevin, 55

The Blood of Jesus, 47 Brabin, Charles, 38 Die Briicke (The Bridge), 233

Blood Simple, 365 Brackett, Leigh, 100 Bruckman, Clyde, 36

The Blot, 27, 28 Braga, Sonia, 342 Brutal Gang, 165

Blowup, 268-269, 277 The Braggarts of Overland, 69 Brute Force, 177

Blue [1993], 324 Brahm, John, 276 Brutus, 66

Blue [1994], 317 Braindead, 328 The Buccaneer, 115

The Blue Angel, 115 Brakhage, Stan, 283 Die Biichse der Pandora ( Pandora’s Box), 85

Bluebeard, 121 Brambell, Wilfred, 268 A Bucket of Blood, 191 The Blue Bird, 289 Branagh, Kenneth, 327 “buddy” films, 360

The Blue Dahlia, 175, 175 Brando, Luisina, 343 budgets, 24, 46, 91, 133, 190-191, 198, 223, The Blue Fleet, 159 Brando, Marlon, 105, 181, 190, 190, 315 232, 253, 257, 269, 272, 275, 277,

The Blue Gardenia, 197 Brats, 39, 39 283, 289, 303, 318, 334, 362, 365,

The Blue Lamp, 223 Braunberger, Giséle, 253 367, 369, 373, 374, 379 The Blue Light, 156 Braunberger, Pierre, 239 Buena Vista Social Club, 309 Blue Murder at St. Trinian’s, 219 Der Bréutigam, die Komédiantin und der Buffalo Bill, 10

Blue Scar, 224 Zuhalter (The Bridegroom, the Buffalo Dance, 10 Blue Steel, 223 Comedienne, and the Pimp), 272, Bulgaria, 298

Blue Thunder, 378 : 302-303 Bullet in the Head, 337

Blue Velvet, 374 Brazil, 88, 165, 167, 292—293, 342 Bullets Over Broadway, 361

Blyth, Ann, 176, 177 Breaker Morant, 257, 326 The Bums, 333

Bob le flambeur (Bob the Gambler), 254 The Breakup, 250 Bunny, John, 35 Bob the Gambler, 254 Breathless, 242-243, 243, 254 | Bufiuel, Luis, 61, 61-62, 166, 208-209, 291,

Body and Soul [1925], 46 Breen, Joseph, 131 344

Body and Soul [1947], 180 Breillat, Catherine, 320 Il Buono, il brutto, il cattivo (The Good, the

Body Double, 374 Breistein, Rasmus, 69 Bad and the Ugly), 264

body doubles, 276 Bresson, Robert, 144, 147, 225, 226-228, 251, Burden of Dreams, 308

Boetticher, Budd, 193-194 319 Burkina Faso, 333

Bogarde, Dirk, 262, 262-263, 266, 268, 305 Breton, Michéle, 270 Burr, Raymond, 199 Bogart, Humphrey, 100, 101, 119, 121, 134, Brewer, Roy, 180 Burton, Richard, 265, 277

135, 135, 173, 179, 201 Brewster McCloud, 360 Burton, Tim, 374-375 .

Bogart, Paul, 336 The Bridegroom, the Comedienne, and the Busch, Mae, 44

Bogdanovich, Peter, 191, 282 Pimp, 272, 302-303 Bush, Dick, 268

Bogosian, Eric, 363 The Brides of Dracula, 222 oe Bushman, Francis X., 35

414

INDEX

The Butcher, 250 La Captive (The Captive), 312 A Chairy Tale (Il était une chaise), 236 But I’m a Cheerleader, 368, 368 | Les Carabiniers ( The Soldiers), 244 Chambre 666 (Room 666), 309

The Butler, 45 Caravaggio, 317 The Champagne Murders, 250

The Butterfly Murders, 337 caravans, 339 Chan, Jackie, 336, 337 buyouts, 377 | Cardinale, Claudia, 264, 334 Chance, John T., 358

Bwana Devil, 185 Career Girls, 329 chanchada genre, 165, 293 Bye Bye Brasil (Bye Bye Brazil), 342 Carette, Julien, 139, 140 Chandidas, 164

By Right of Birth, 45 Carlchen und Carlo, 78 Chandler, Raymond, 175

. Carmencita, 8 Chaney, Lon, Jr., 120 |

The Cabbage Patch Fairy, 14 Carmen Jones, 197, 197 Chaney, Lon, Sr., 39

Das Cabinet des Dr. Caligari (The Cabinet of Carné, Marcel, 146, 147, 148, 215 Channel Four Films (Britain), 318

Dr. Caligari), 80, 80 Carnival in Flanders, 146 The Chant of Jimmie Blacksmith, 326

Cabiria, 23, 66 Carol, Martine, 108 Un Chapeau de paille d’Italie (An Italian

La Caduta degli dei (The Damned), 262 Carpenter, John, 358-359, 378 Straw Hat), 58

178 Carrie, 374 180, 181

Cagney, James, 93, 117, 118, 119, 120, 120, Carreras, Michael, 222 Chaplin, Charles, 32-33, 34, 104-105, 105,

Cahiers du Cinéma, 148, 187-188, 191-192, Carroll, Madeleine, 102 | The Chapman Report, 289 228, 232, 239, 249 Le Carrosse d’or (The Golden Coach), 231 character development, 28, 77, 358

Caine, Michael, 266, 327, 363 Carry On films, 220 Charlie and the Chocolate Factory, 375

Calcutta, 231 Carter, Janis, 174 The Charcoal Maker, 333 Calcutta 71, 330 cartoons, 19, 91, 126-130, 183, 224—225, 236, Chardynin, Pyotr, 70 Calhern, Louis, 28 339, 383 Charles, Ray, 284 California Split, 360 Casablanca, 135, 135 Charleston, 64

California State Senate Committee on Un- La Casa del angel (The House of the Angel), La Charme discret de la bourgeoisie (The Dis-

American Activities, 180 343 creet Charm of the Bourgeoisie), 291, Calloway, Cab, 130 Casares, Maria, 147 292 camera angles, 18, 84, 86, 276, 369. See also Caserini, Mario, 66, 67 chase sequences, 20, 354 reverse-angle shots; wide-angle shots Cassavetes, John, 283, 365 Le Chaudron infernal (The Infernal Boiling

cameramen, 23, 63, 70, 73, 96, 156, 157, 254, Cassel, Jean-Pierre, 232 Pot), 12 |

263 Cassel, Seymour, 365 Chavance, Louis, 147

camera obscura, | Castel, Lou, 304 Chelovek s kino-apparatom (The Man with a cameras, 3, 48, 13, 21, 23, 54, 86, 95, 96, 102, Castellani, Renato, 159 Movie Camera), 71, 71

156, 157, 162, 185, 237, 240, 280, Castle, Nick, 382 Chelsea Girls, 285 323, 347, 350, 381. See also handheld Catherine, 64 Chen Kaige, 338, 339 cameras; moving camera; multi- Catherine the Great, 150 Cheng, Bugao, 164 plane camera; multiple cameras; Cat People, 120 Chevalier, Maurice, 105 sound cameras; stationary cameras Cattaneo, Peter, 319 Cheyenne Autumn, 288

Camerini, Mario, 159 Caught, 107 Chicago, 45 Cameron, James, 191, 382—383 Cavalcanti, Alberto, 153 Chichi ariki (There Was a Father), 162

Cameroon, 335 Cease Fire, 347 Un Chien andalou (An Andalusian Dog), 61, Camicia nera (Black Shirt), 159 Cecchi d’Amico, Suso, 215 61-62 Camila, 343 | Cecil B. DeMented, 362 La Chienne (The Bitch), 65, 65 Cammel, Donald, 270 Ceddo (Outsiders), 300 The Child, 313 Campanadas a medianoche (Chimes at Mid- The Celebration, 349 Children of Men, 344 night), 289 Céline et Julie vont en bateau (Celine and Julie Children of Montmartre, 57, 58

Campanella, Juan José, 343 Go Boating), 253 Children of Paradise, 147

The Camp at Thiaroye, 300, 301 celluloid film, 29 Children’s Film Foundation, 152

Campbell, Colin, 266 cellulose nitrate film. See nitrate film Chimes at Midnight (aka Falstaff),289 Camp de Thiaroye (The Camp at Thiaroye), censorship, 8, 9, 21, 40, 106, 130—132, 138, China, 88, 164-165, 237, 338—339

300, 301 145, 224, 244, 289, 297, 299, 320, Chinatown, 294, 294

Campion, Jane, 309, 328 322, 339, 345 The Chinese Connection, 336 Canada, 236, 328-329 Central do Brasil (Central Station), 342 The Chinese Girl, 247

“canned drama,” 51 Central Station, 342 La Chinoise (The Chinese Girl), 247

Cannes Film Festival, 163, 165, 209, 210, 223, Centro Sperimentale di Cinematografia The Choice, 333

231, 239, 267, 295, 296, 301, 309, (Rome), 140, 159, 212, 215 Chom6n, Segundo de, 67

314, 324 La Cérémonie (The Ceremony,aka Judgment choreographers, 194, 223

Cannibal Girls, 329 in Stone), 250 Choudhury, Sarita, 331, 332 The Canterbury Tales, 260 César, 146 Chow, Yun-Fat, 337

Capellani, Albert, 20, 54 Cesta do praveku (Journey to the Beginning of | Chrétien, Henri, 184

Le Caporal épinglé (The Elusive Corporal), Time), 234 . Christensen, Benjamin, 69

232 CGI, 284, 382 Christie, Julie, 242, 267

Capra, Frank, 92, 112-113, 156, 162 Chabrol, Claude, 148, 239, 249-250 Christine, 378

Capshaw, Kate, 355 Chafed Elbows, 287 Christmas Bells, 79

Captain January, 132 Chahine, Youssef, 237, 332 The Christmas Dream, 12 415

INDEX

Christopher Strong, 123, 124 Clift, Montgomery, 101,193 - _ coming-of-age stories, 231, 252, 368, 371

Chromatrope, 3 Clifton, Elmer, 194 The Commissar, 323 The Chronicle of Anna Magdalena Bach, Cline, Edward F., 36 Committee for the First Amendment, 179 272~273, 273 Clive, Colin, 124 Communist infiltration, 180 Chronicle of the Years of Embers, 333 A Clockwork Orange, 270 Como agua para chocolate (Like Water for

Chronik der Anna Magdalena Bach (The Clooney, George, 377 Chocolate), 344

Chronicle of Anna Magdalena Bach), Close Encounters of the Third Kind, 242, 354 Como Era Gostoso o Meu Francés (How Tasty

272-273, 273 close-ups, 14, 17, 22, 63, 264, 276 Was My Little Frenchman), 293 Chronique des années de brais (Chronicle of The Cloud-Capped Star, 211-212 compilation films, 284

the Years of Embers), 333 Clouse, Robert, 336 compositions, 98, 209, 273 Chronophone system, 15, 89 Clouzot, Henri-Georges, 147 Compson, Betty, 68

Chukhrai, Grigori, 235, 322 Clueless, 366 computer-assisted animation, 225. See also

Chukraj, Pavel, 323 Cobb, Lee J., 181 digital effects

Chunhyang, 342 Coca-Cola, 378 computer editing, 380

Chytilova, Vera, 296 Cocoon, 373 computer-generated imagery (CGI), 284,

Ciao Professore!, 315 Cocteau, Jean, 137, 142-144, 144, 147, 148, 382. See also digital filmmaking Cidade de Deus (City of God), 166-167, 342 170, 223, 231 Un condamneé a mort s’est échappé, ou Le vent

La Ciénaga (The Swamp), 343 Code. See Motion Picture Production Code souffle ott il veut (A Man Escaped),

Cinecitta, 159, 160 Coen, Ethan and Joel, 219,365 . 227, 251 , ciné clubs, 55—56, 239, 272 Coeur de Paris (Heart of Paris), 57 The Confession, 299

Cineguild, 149 Cohn, Jack and Harry, 34, 91, 111 Confidentially Yours, 242

Cinema [journal], 215 Colbert, Claudette, 115, 117, 134 Il Conformista (The Conformist), 315

Cinéma 58 {journal], 239 Cold Mountain, 380 The Conjuring of a Woman at the House of

“cinema du look,” 319 Cold War, 178, 233 Robert Houdin, 12 Cinema Novo movement, 292~—293 Cole, George, 220 The Connection, 284 Cinema Paradiso, 315 Cole, Lester, 179 _ Conner, Bruce, 284 CinemaScope, 108, 127, 184, 184-185, collage films, 284 Connery, Sean, 267 189-190, 191, 205, 232 La Collectionneuse ( The Collector), 250 Conquest, 49

Cinémathéque Frangaise, 57, 188 The Collector, 250 Constantine, Eddie, 246, 304

Cinematographe, 6 collectors, 188 Construire de feu (To Build a Fire), 184 cinematographers, 22, 85, 109, 134, 143, 153, college screenings, 246 Container, 322

165, 188, 256, 258, 268, 280, 309, color, 21, 28, 67, 77, 85, 96, 108, 127, 154, Contempt, 244-245, 245

338, 375 183, 206, 209, 216, 221, 225, 232, continuity, 222

cinematography, 96, 104, 221, 271, 278, 344, 251, 258, 259, 298, 314, 320, 349, 369 contract players, 275

380 color coordinators, 96 ~ contracts, 41, 93-94, 171-172, 173

cinéma vérité, 280, 313 Color of Pomegranates, 299 controversy, 25, 46, 370, 376-377 Cinerama process, 185-187, 186 color processing, 172, 237 The Conversation, 353

Cinétracts, 138 The Color Purple, 354 Conway, Jack, 39 Cissés, Souleymane, 333 color tints, 54 Cook, Peter, 268

Citizen Kane, 109-110, 110, 188, 360 Colston, Karen, 329 The Cook, the Thief, His Wife and Her Lover, ,

La Citta delle donne (City of Women), 315 Columbia Pictures, 34, 91-92, 111, 173, 194, 318

Citti, Franco, 261 378 A Cool Sound from Hell, 266 “city films,” 165 Comanche Station, 194 Cooper, Gary, 178, 179, 192

City Hunter, 336 Come and See, 322 Cooper, Merian C., 48, 92, 186 City Lights, 33 comedies, 20, 33, 39—40, 65, 70, 86, 113, 114, Cooper, Miriam, 24

City of God, 342 119, 121, 133, 142, 153, 183, 201, Copland, Aaron, 370 , City of Sadness, 337, 338 209, 212, 218-220, 223, 224, Coppola, Carmine, 55

City of Women, 315 225~226, 237, 240, 251, 267, 268, Coppola, Francis Ford, 124, 187, 191, 309,

City Streets, 95 278, 288, 296, 310, 314, 315, 316, 353, 353

Civilization, 28 318, 319, 322, 329, 342, 343, 360, Coppola, Sofia, 367 civil rights, 293 361, 365, 366, 374, 378. See also ac- Cops, 36 Clair, René, 58-61, 104, 137, 141-142 tion comedies; black comedies; La Coquille et le clergyman ( The Seashell and Claire’s Knee, 250 comedies of manners; military the Clergyman), 56, 56, 57 Clampett, Bob, 128 comedies; mystery comedies; ro- Coraci, Frank, 381 ,

Clarke, Mae, 118 mantic comedies; screwball come- Le Corbeau (The Raven), 147

Clarke, Shirley, 284, 285 dies; sex comedies; sick comedies; Corman, Roger, 190-191, 256, 281, 353

Clash by Night, 197 slapstick comedies; “thrill” come- Cornered, 119

Clayton, Jack, 264 dies; tragic comedies A Corner in Wheat, 23 , | Clément, Aurore, 312 “Comedies and Proverbs” (Rohmer), corporate takeovers, 377—379 Clément, René, 230 250-251 Corpse Bride, 375 Cléo de 5 a 7 (Cleo from 5 to 7), 228-229, 229 comedies of manners, 106, 291 Cosmic Ray, 284

Cleopatra [1934], 115 comedy teams, 39-40, 202 Costner, Kevin, 363

Cleopatra [1963], 275 “comic-book” films, 119, 130, 374, 376 costume dramas, 38, 163, 289

Click, 381 comics (comedians), 35-37, 39—40, 53, 336 costumes, 66, 272, 367

416

INDEX

Cotten, Joseph, 102, 217 Cul-de-sac, 294 A Day in the Country, 138

A Countess from Hong Kong, 105 cult favorites, 314, 315, 341, 365, 374 Day of Freedom, 157

Couples, 257 Cundieff, Rusty, 371 The Day of the Flight, 269 |

Courtenay, Tom, 265 Cuny, Alain, 214 Day of Wrath, 64

Les Cousins (The Cousins), 249 The Curse, 300 Days and Nights, 163 |

Cousteau, Jacques- Yves, 251 The Curse of Frankenstein, 221 The Day the Earth Stood Still, 198 Covek nije tica (Man Is Not a Bird), 297 The Curse of the Jade Scorpion, 361 Dead Alive (ak a Braindead), 328

“coverage, 117 The Curse of the Werewolf, 222 Dead Calm, 327

Coward, Noél, 217 Curtis, Tony, 210 Deadly Is the Female, 366 cowboy hero, 18 Curtiz, Michael, 49, 49, 135, 177 Dead of Night, 153 “C” pictures, 91 Cushing, Peter, 221 Dead Poets Society, 327

Craigie, Jill, 224 cutting, 20. See also intercutting Dead Ringers, 329 Craig’s Wife, 123, 195 cutting in the camera, 13, 143 Dead Zone, 329 The Cranes Are Flying, 163 Cutts, Graham, 68 Dean, James, 189, 189, 193, 193 crane shots, 156, 313 Cybulski, Zbigniew, 235, 235 Dearden, Basil, 153, 223, 266 Crash, 329 Czechoslovakia, 234~—235, 296-297, 324 Death in Venice, 262, 262-263

Craven, Wes, 208, 373 Czinner, Paul, 150 The Death of Ivan the Terrible, 70 Crawford, Broderick, 213 Czlowiek z zelaza (Man of Iron), 236, 324 Il Decameron (The Decameron), 260

Crawford, Joan, 92, 93, 125, 176, 177 De Cespedes, Alba, 215 , The Crazy Family, 339 Dafoe, Willem, 366 La Decima vittima (The 10th Victim), 261

The Crazy Ray, 60, 60-61 Da hong deng long gao gao gua (Raise the Red Le Déclin de empire américain (The Decline

“creative geography” effect, 72 Lantern), 339, 339 _ of the American Empire), 329

Crédit Lyonnais, 378 Daisies, 296, 297 Deconstructing Harry, 361

Crichton, Charles, 153, 218 Dakar, 334 Deed, André, 67 Crichton, Michael, 382 Dali, Salvador, 61-62, 102 Deep End, 295 | Cries and Whispers, 256-257 Daltrey, Roger, 316 deep-focus shots, 77,274

Le Crime de la Rue du Temple (The Crime in Dalu (Big Road, aka The Highway), 164 De eso no se habla (I Don’t Want to Talk About

Temple Street), 14 D’ Ambra, Lucio, 67 It), 343 Monsieur Lange), 138 Park), 144, 147-148 162

Le Crime de Monsieur Lange (The Crime of Les Dames du Bois de Boulogne (Ladies of the Defeat of the German Armies Near Moscow,

crime dramas, 53, 81, 121, 167, 191, 196, 237, The Damned, 262 Defiance, 258 274, 303, 319, 337, 365, 366, 371, 373 Damon, Matt, 364 de Forest, Lee, 50, 89

crime films, 250, 251, 266, 289 Dance, Girl, Dance, 123 Degermark, Pia, 258

The Crime in Temple Street, 14 Dance Pretty Lady, 223 | de Havilland, Olivia, 134, 172, 177 Crimes and Misdemeanors, 361 Dandridge, Dorothy, 197, 197 de Havilland decision, 171-172 | The Criminal Life of Archibaldo de la Cruz, 208 Dangerous Liaisons [1959], 232 Le Déjeuner sur Vherbe (Picnic on the Grass),

The Crime of Monsieur Lange, 138 D’Annunzio, Gabriellino, 67 232 Crisis, 206 Dante, Joe, 364 Delgado, Marcel, 92 Crisp, Quentin, 319 Danton, 324 Dellanoy, Jean, 148, 230 critics, 141, 158, 187—188, 189, 191-192, 215, Danzon, 344 Delluc, Louis, 55, 56 232, 239, 264, 277, 281, 296 Darc, Mireille, 247, 247 Dementia 13, 353

Crna macka, beli macor ( Black Cat, White D’Arcy, Patrice, 1 DeMille, Cecil B., 41-42, 115, 180

Cat), 325 Dardenne, Jean-Pierre and Luc, 313 Demme, Jonathan, 191, 373

Cronaca di un amore (Story of a Love Affair), Darin, Ricardo, 343 Deneuve, Catherine, 294

215 Dark Star, 358 De Niro, Robert, 264, 351, 352

Cronenberg, David, 329 Dark Water, 340 Denizot, Vincenzo, 68 . Cronyn, Hume, 177 Darling, 267 Denmark, 64, 69, 348

Crosland, Alan, 44, 50 Dash, Julie, 368—369 De Palma, Brian, 74, 374 cross-cutting, 22, 358 Dassin, Jules, 174, 177 The Departed, 351

Crossroads, 164 Daughters of the Dust, 368, 369 Depp, Johnny, 374 |

Croupier, 318 David, Keith, 359 depth effect, 185

The Crowd, 48 David Copperfield, 113 _ _Deren, Maya, 56, 283, 283

crowd scenes, 383 Davies, Terence, 318 Le Dernier Métro (The Last Metro), 242 Crowe, Russell, 376 The Da Vinci Code, 373 De Santis, Giuseppe, 159, 161 Cruel Story of Youth, 290, 290 Davis, Bette, 93, 122, 124, 125, 172, 178 Descas, Alex, 335

Cruise, Tom, 363 Davis, Carl, 55 Il Deserto rosso (The Red Desert), 259

The Crusades, 115 Davis, Geena, 375 Desfontaines, Henri, 23

Cry-Baby, 362 Davis, Miles, 251 De Sica, Vittorio, 159, 161, 168, 210, 217, 313 Csillagosok, katondk (The Red and the White), Dawley, J. Searle, 22 Despair—Eine Reise ins Licht (Despair), 305

295 The Dawn, 330 Desperate Living, 362 Cuba, 293 Day, Doris, 103 Destiny [1943], 163 Cukor, George, 92, 105, 113-114, 133, 187, Day, Josette, 144 Destiny [1997], 332

Cuaron, Alfonso, 344 The Dawn Patrol, 99 De Stefani, Alessandro, 140 275, 289 The Day I Became a Woman, 345-346 detective films, 100

417

INDEX de Toth, André, 185 Disney, Walt, 126-128, 178. See also Walt Dis- Dracula (a ka Horror of Dracula), 221, 222

Detour [1945], 121, 174, 366 ney Productions O Dragao da Maldade contra o Santo Guer-

Detour ( Otklonenie, ak a Sidetracked) [1967], dissolves, 13, 15, 267 reiro (Antonio das Mortes), 292

298 Distant Voices, Still Lives, 318 Drake, Claudia, 121

Deus e o Diabo na Terra do Sol (Black God, distorting lenses, 56, 57 dramas, 100, 104, 113, 122, 173, 189, 205,

White Devil), 292 distribution, 31—32, 34, 88, 127, 136, 149, 206, 210, 242, 252, 265, 266, 283,

Deutsche Wochenschau [newsreels], 154 167, 171, 172, 203, 257, 277, 301, 289, 294, 295, 306, 309, 320, 323,

Deutschland im Herbst (Germany in Au- 334, 339, 379 331, 333, 342, 343, 360, 364, 365,

tumn), 306 “Diva” cinema, 67 366, 371, 374, 376. See also action

Les Deux Anglaises et le continent (Two En- Divine, 362, 362 dramas; allegorical dramas; costume

glish Girls), 242 The Divine Woman, 70 dramas; crime dramas; domestic

2 ou 3 choses que je sais d’elle (Two or Three Divorce, Italian Style, 260 dramas; exploitation dramas; gangThings I Know About Her), Divorzio all italiana (Divorce, Italian Style), ster dramas; historical dramas;

246-247 260 hospital dramas; “Kitchen Sink”

Devdas, 164 Dmytryk, Edward, 119, 179, 181 dramas; murder dramas; police draThe Devil and the Flesh, 208 Dnevnik Glumova (Glumov’s Diary), 73 mas; political dramas; psychological

The Devil Commands, 119 Dni i nochi (Days and Nights), 163 dramas; racial dramas; religious

The Devils, 316 Dobry vojak Svejk (The Good Soldier dramas; revenge dramas; romantic

The Devil’s Envoys, 148, 215 Schweik), 235 dramas; war dramas

The Devil’s Wanton, 206 Doctor Zhivago, 267 The Draughtsman’s Contract, 318 Dewar’s Scotch Whiskey, 9 documentaries, 42—43, 56, 85, 98, 113, 121, The Dreamers, 315

De Wilde, Brandon, 193 156, 158, 161, 166, 181, 194, 209,215, | dream sequences, 102 Diaboliques (Diabolique), 147 224, 228, 229-230, 232-233, 236, DreamWorks, 356

Dial M for Murder, 185 251, 252, 264, 279-281, 285, 299, Dressed to Kill, 374 The Diamond Ship, 81 308, 309, 312, 321, 330, 331, 333, 342, Dressler, Marie, 92 Diary for My Children, 326 370, 377. See also propaganda Drew, Robert, 279 —

A Diary for Timothy, 152 The Does, 250 Drew Associates, 279~280

Diary of a Country Priest, 226 Dogfight, 368 Dreyer, Carl Theodor, 63-64 Diary of a Lost Girl, 85 Dogme 95, 348-350 Dreyfuss, Richard, 354, 357 The Diary of Dr. Hart, 79 Dog Star Man, 284 Driving Miss Daisy, 326

Dickson, William K. L., 21 La Dolce vita, 213-214, 214, 367 Dr. Jekyll and Mr. Hyde, 95 Dick Tracy vs. Crime, Inc., 118 domestic dramas, 205 Dr. Mabuse, der Spieler—Ein Bild der Zeit Die Bian (The Butterfly Murders), 337 domestic melodramas, 78, 79 (Dr. Mabuse: The Gambler), 81 Diegues, Carlos, 342 Dom za vesanje (Time of the Gypsies), 325 Dr. No, 266 Dieterle, William, 131 Dona Flor e Seus Dois Maridos (Dona Flor Drouot, Jean-Claude, 250 Dietrich, Marlene, 115-116, 116 and Her Two Husbands), 342 Drowning by Numbers, 318

Dieudonné, Albert, 64 Donat, Robert, 102 Dr. Strangelove... , 269-270, 270 Die xue jie tou (Bullet in the Head), 337 Donen, Stanley, 195, 268 Drugstore Cowboy, 364

Difficult People, 295 Doniol-Valcroze, Jacques, 187 Drums of Fire, 334

digital effects, 310, 354, 358, 380-384 Donnell, Jeff, 174 Drunken Angel, 203 digital filmmaking, 129, 323, 328, 344, 349, Donner, Clive, 360 dubbing, 95

350, 376, 380 Donner, Richard, 364 Dubost, Paulette, 140

digital photography, 380 Donovan's Reef, 288 , Duck Soup, 132, 133

La Dignidad de los nadies (The Dignity of the Donskoy, Mark, 163, 299 Dulac, Germaine, 55-57

Nobodies), 343 Don’t Change Your Husband, 41 Dumanganga jal itgeola (Farewell to the

Dillon, Matt, 364 Don’t Look Back, 280 Duman River), 342

Dinner at Eight, 92, 113 The Doors, 363 Dunaway, Faye, 274, 274, 295 Dinii hua (Princess Chang Ping), 336 Dora Film, 66 Dune, 374 Dip hyut shueng hung ( The Killer), 337 Dorléac, Francoise, 294 Dunne, Philip, 140 “direct cinema,’ 236, 280 Dorrie, Doris, 310 Dunnock, Mildred, 289 La Direction d’acteur par Jean Renoir (The Do the Right Thing, 369, 370 Durante, Jimmy, 37

Direction of the Actor by Jean double bills, 90, 129 Duras, Marguerite, 248

Renoir), 253 double exposures, 13, 57 Diisman (The Enemy), 348

directors, 11-16, 22-49, 54-87, 97-126, 133, Double Indemnity, 176, 176 Dustbin Parade, 224

137-147, 150, 156-161, 169-171, Douglas, Kirk, 196 Dust in the Wind, 337 179, 180, 181, 187—201, 203-237, Douglas, Melvyn, 106, 108 Duryea, Dan, 104

239-276, 281-301, 302-350, Douglas, Michael, 363 Duvar (The Wall), 348

351-376, 379 Dovzhenko, Aleksandr, 77 ' Duvivier, Julien, 146 Directors Guild of America, 124 Dowling, Doris, 175 DVDs, 379

Dirty Gertie from Harlem U.S.A., 47 Down and Out in Beverly Hills, 66 Dvoje (And Love Has Vanished), 297

Dirty Pretty Things, 318 Downey, Robert, Sr., 287 Dwaj ludzie z szafa (Two Men and a

A Dirty Shame, 362 downloads, 379 | Wardrobe), 293

, 418

The Discreet Charm of the Bourgeoisie, 291,292 | Down with Imperialism, 237 Dwan, Allan, 48, 119

Dishonored, 116 Dracula, 91, 91 Dziga Vertov Collective, 247

INDEX

Eagle, S. P. (Sam Spiegel), 111 Elevator to the Gallows, 251, 252 ethnographic films, 229

The Eagle, 49 11'09"01—September 11, 331-332 Et mourir de plaisir (Blood and Roses), 232 The Eagle Has Two Heads, 143 Elisabeth und der Narr (Elisabeth and the L Etoile de mer (Star of the Sea), 62, 63

Eagle-Lion, 183 Fool), 154 E.T. The Extra Terrestrial, 354

Ealing Studios, 153, 218-219, 268 Ella Lola, a la Trilby, 8 E tu vivrai nel terrore—L aldila (The Beyond),

Earth [1930], 77 Ellis, David R., 379 315 Earth [1998], 330 Elmer’s Pet Rabbit, 128 Europa, Europa, 325

The Earth Trembles, 168 Eloge de l'amour (In Praise of Love), 320 European Vacation (a k a National Lampoon’s

Earth vs, the Flying Saucers, 375 The Elusive Corporal, 232 European Vacation), 366

Eason, B. Reeves “Breezy,” 48, 133 Elvey, Maurice, 68 Even Dwarfs Started Small, 307

Eastern Europe, 237, 293-299. See also by Elvira Madigan, 257-258 Every Day Except Christmas, 264

country Emak-Bakia, 62 Everything You Always Wanted to Know About

Easter Parade, 196, 196 Emerald Productions, 194 Sex But Were Afraid to Ask, 360 East Germany, 234, 297 Emhardt, Robert, 191 Eve’s Bayou, 371, 371 Eastman, George, 29 Emitai (God of Thunder), 300 Ewell, Tom, 200 Eastman, George, company, 5 Empire, 285 Der Ewige Jude (The Eternal Jew), 154

Eastman Color, 232, 244 Empire of the Sun, 354 exhibitors, 30. See also Kinetoscope parlors;

Eastman Kodak, 172 endings, 169, 178 theater owners Eastwood, Clint, 38, 263, 263, 264, 378 Endless Love, 315 The Exile, 46 Easy Rider, 278-279, 279 The Endless Summer, 286, 286-287 eXistenZ, 329

The Eavesdropper, 343 The End of August at the Hotel Ozone, 297 Exotica, 329 |

Ecaré, Désiré, 333 The End of the World in Our Usual Bed..., experimental films, 55-56, 62, 144, 165-166,

Eclair, 53 315 184, 231, 283, 298, 324, 332, 368

Eclair-Journal [newsreels], 54 The End of Violence, 309 exploitation dramas, 316 | Eclipse, 259 En el viejo Tampico (Gran Casino), 166 Exposition Mondiale [1937], 57

PEclisse (Eclipse), 259 The Enemy, 348 Express, 239

Edipo re (Oedipus Rex), 260, 261 LEnfant (The Child), 313 Expressionism, 69, 80, 84 Edison, Thomas Alva, 6, 711, 16, 20-21, 29-30 §_L’Enfant sauvage (The Wild Child), 242 The Exterminating Angel, 291 Edison Kinetoscopic Record of a Sneeze (Fred Les Enfants du paradis (Children of Paradise), extras, 15,55, 155, 158, 281, 383

Ott’s Sneeze), 7 147 The Eye, 337

Edison Trust, 29-30, 31 Les Enfants terribles (The Strange Ones), Eyes Wide Shut, 270

editing, 22, 42, 71, 72, 73—75, 77, 82, 95, 156, 144 Eyes Without a Face, 233 157, 228-229, 241, 254, 264, 274, Engl, Josef, 89 The Eye 2, 337 276, 296, 309, 350, 354, 363, 380. England, 6, 20, 68-69, 87, 141, 148-153,

See also cutting; intercutting; kinetic 217-225, 236, 241, 264-271, 288, Fabrizi, Aldo, 212

editing; “memory editing”; montage 316-319, 344 Le Fabuleux Destin d’Amélie Poulain

editing; parallel editing; shock English, John, 118 (Amélie), 320 cuts The English Patient, 380 The Fabulous World of Jules Verne, 234, 234

380 Eno, Brian, 317 Faces, 283 -

editors, 73, 111, 123, 156, 199, 228, 274, 358, ENIC, 159 Face/Off, 337

educational films, 152 Enoch Arden, 23 Faces of Women, 333 Edward Scissorhands, 374 Ensayo de un crimen (The Criminal Lifeof — — fade-outs, 22

Edward II, 317, 317 Archibaldo de la Cruz), 208 Fad’jal, 334

Ed Wood, 374 Ente Nazionale Industrie Cinematografice El Faham (The Charcoal Maker), 333

Egoyan, Atom, 329 (ENIC), 159 Fahrenheit 451, 241, 242 Egypt, 88, 237, 332-333 Enter the Dragon, 336 Fahrenheit 9/11, 377

An Egyptian Story, 332 Entr’acte (Intermission), 58, 59 Fairbanks, Douglas, Sr., 33, 34

Eidophusikon, 2 Enyedi, IIldiko, 326 | fairy tales, 187

Eidotrope, 3 Ephron, 67 Nora, 106 FalakRenée, (Walls), 8, 309 E Piccerella, Falconetti, 63,295 64| 84, 214, 314 Epstein, Marie, 56, 57 Falk, Peter, 365

Eisenstein, Sergei M., 70, 72—77, 162, 276 Eraserhead, 374 The Fallen Idol, 217 Ekberg, Anita, 214 Escamotage d’une dame chez Robert-Houdin The Fall of the Romanov Dynasty, 77

Ekerot, Bengt, 206 (The Conjuring of a Woman at the Falsch (False), 313

El (This Strange Passion), 208 House of Robert Houdin), 12 Falstaff (Chimes at Midnight), 289

El-Bakry, Asmana, 333 Escape from New York, 358 Family Plot, 288 Eldorado (El Dorado) [1921], 57 escapism, 164, 347 Famous Players, 34

El Dorado [1966], 289, 358 La Esmeralda, 14 FAMU, 296

Electrical Tachyscope, 23 espionage thrillers, 191, 200, 217, 266, 322 Fanck, Arnold, 156 . Electronic Labyrinth THX 1138 4EB, 356 Essanay Studios, 29, 33 Féngelse (The Devil’s Wanton), 206 Elena et les hommes (Paris Does Strange Et Dieu... créa la femme (And God Created Fanny, 146

Things), 232 Woman), 232 Fanny och Alexander (Fanny and Alexander), Elephant, 364 The Eternal Jew, 154 257 : The Elephant Man, 374, 375 L’Eternel retour (The Eternal Return), 148 Fantasia, 127

419

INDEX ) |

fantasies, 83, 119, 145, 154, 224, 225, 232, fight scenes, 118 Flavor of Green Tea over Rice, 205

234, 253, 263, 268, 360, 374. See also Figueroa, Gabriel, 165 Fleischer, Max and Dave, 130 , fairy tales; Gothic horror fantasies Filimonova, M., 77 | Fleming, Victor, 133, 188

fantasy sequences, 298 La Fille de Peau (Whirlpool of Fate), 64, 141 Flesh, 285 Fante-Anne (The Lady Tramp), 69 film (formal properties), 286 Flesh and the Devil, 49 Fantémas—l’ombre de la guillotine The Filmakers, 194 | La Fleur du mal (The Flower of Evil), 250

(Fantémas), 53 film archives, 302 Le Fleuve (The River), 231 | Farber, Manny, 141 archy), 314 Flirtation Walk, 118 . Farabi Cinema Foundation, 345 Film d’amore e d’anarchia... (Love and An- Flickorna ( The Girls), 257

farces, 105, 107, 153, 293 film d’art movement, 23, 53, 78 The Flood, 55

A Farewell to Arms, 118 Um Filme Falado (A Talking Picture), 321 The Flower of Evil, 250 Farewell to the Duman River, 342 film festivals, 304, 323, 334, 342, 343, 350, Flying Down to Rio, 93

Far from Heaven, 304 369. See also by name — ] The Fog, 358 Farrow, Mia, 294 Film Forum (New York), 331 Fonda, Peter, 278, 279

Fargo, 365 film format, 349 | Fonda, Henry, 97, 98, 104, 117, 197, 264 Fashions for Women, 123 film journals, 215, 239, 240 . Fontaine, Joan, 107

Fassbinder, Rainer Werner, 272, 302-306, film libraries, 188, 378 Foolish Wives, 43, 44

303, 309 filmmaking courses, 124 A Fool There Was, 35

Fast Times at Ridgemont High, 366 film noir, 104, 119, 120, 126, 174-177, 191, For a Few Dollars More, 264

The Father, 347 195, 196-197, 201, 221, 254, 294. See Forbes, Bryan, 266

Father Wants a Wife, 237 also neo-noir films Forbidden Games, 230 Faulkner, William, 100, 141 film preservation, 351 Forbidden Paradise, 38 Faust et Méphistophéleés, 14 film rips, 256 Ford, Harrison, 355, 357, 375

Fawzi, Hussein, 237 film schools, 148, 159, 212, 215, 237, 258, Ford, John, 48, 97-98, 98, 101, 162, 187, 288

Faye, Safi, 334-335 296, 299, 302, 324 For Ever Mozart, 320 Fear and Desire, 269 Les Films de la Pléiade, 239 form, 57

Fear of Enemy Flying Machines, 67 film societies, 203, 240, 246. See also ciné formalism, 272, 295, 296

featurettes, 145, 291 clubs Formby, George, 148 Feature Play Company, 34 filters, 349 formula films, 351

La Fée aux choux (The Cabbage Patch Fairy), Final Fantasy: The Spirits Within, 383 Forrest, Sally, 195

14 financing, 31-32, 370-371, 372, 379. See also Forrest Gump, 383

Feeding the Baby, 7 budgets; state subsidies Fort Apache, 98

Felicia’s Journey, 329 Fincher, David, 381 Fort Lee, New Jersey, 16, 17 Fellini, Federico, 171, 212—214, 257, 258-259, Fin de fiesta (The Party Is Over), 343 Forty Guns, 191

314, 357, 367 Fine del mondo nel nostro solito letto ... (The Forzano, Giovacchino, 159

Fellini Satyricon, 259 End of the World in Our Usual Fossey, Brigitte, 230

Female Trouble, 362 Bed... ), 315 Foster, William, 45

feminism, 55, 195, 257, 296, 310, 319, 333 Finyé (The Wind), 333 Foster Photoplay Company, 45

Une Femme est une femme (A Woman Is a Fire [1903], 20 foundations, 334, 345, 367

Woman), 244 Fire [1996], 330 found footage, 284. See also archival footage;

La Femme infideéle (The Unfaithful Wife), 250 Fires Were Started (a k a I Was a Fireman), stock footage

femmes fatales, 35, 176 152 The Four Horsemen of the Apocalypse, 38

Fencers, 8 The Fire Within, 252 The 400 Blows, 240, 241

Fernandez, Emilio, 165 The First Cigarette, 14, 14 4 Little Girls, 369, 370

Ferrara, Abel, 373 First Comes Courage, 123 491, 258

Ferrer, Mel, 232 First Name: Carmen, 320 | The Fourth Man, 322

Ferzetti, Gabriele, 215 First National Studios, 33 Four Weddings and a Funeral, 318 Festen (The Celebration), 349 first-person camera work, 84, 109, 186 Fox, James, 271

Festliches Niirnberg, 157 Fischer, Gunnar, 206 Fox, Michael J., 328

Le Feu follet (The Fire Within), 252 Fisher, Terence, 221 Fox, William, 30, 33 Feuillade, Louis, 15, 53 A Fistful of Dollars, 263, 263-264 Fox Film Corporation, 30, 33 Fever [1921], 55 Fist of Fury (The Chinese Connection), 336 Foxy Brown, 372

Fever (1981], 324 Fists of Fury, 336 framing, 163

Feyder, Jacques, 146 Fitzcarraldo, 308 framing device (narrative), 328 F for Fake, 289 Fitzgerald, F. Scott, 134 Frampton, Hollis, 286 Field, Mary, 152 Five Graves to Cairo, 134 France, 6, 11-15, 20, 29, 53-66, 83, 137-140, Fields, Gracie, 148 Five Guns West, 191 146-148, 155, 209, 225-233, 237, Fields, W. C., 91, 113, 188 Five Scouts, 161 239, 291, 319-320, 334

Fiennes, Ralph, 355-356 Flaherty, Robert J., 42-43, 140 “franchise” projects, 379

Fiévre (Fever), 55 The Flame, 67 Francis, Freddie, 222, 375 La Fiévre monte a El Pao (Republic of Sin), Flaming Creatures, 284 Francis, Kay, 106, 125 291 The Flamingo Kid, 278 Franju, Georges, 233, 239 Fifth Generation, 338 flashbacks, 80, 110, 177, 208, 223, 248, 257, Frankenstein, 91, 92

“fight” films, 9 261 Frankenweenie, 374 420

INDEX

Franscope, 245 Gangs of New York, 351 The Ghost Goes West, 141 Frantic, 251, 252 gangster dramas, 365, 366 Ghosts of Mars, 359

Franz, Arthur, 181 gangster films, 23, 51, 91, 99, 117, 120, 121, ghost stories, 205, 328, 358 | Frau im Mond (Woman in the Moon), 82-83 191, 240, 255, 264, 290, 340-341. See Giannini, Giancarlo, 314

Eine Frau ohne Bedeutung (A Woman of No also yakuza ~ Giant, 193, 193

Importance), 154 Gant, Harry A., 46 I] Giardino dei Finzi-Contini (The Garden of Frears, Stephen, 318 Garbo, Greta, 48, 49, 70, 92, 93, 106 the Finzi-Continis), 313 Frechette, Mark, 282 The Garden of the Finzi-Continis, 313 Gibson, Mel, 315, 326, 377, 381

Fred Ott’s Sneeze, 7 Garfield, John, 180-181 Gielgud, John, 268

Free Cinema movement, 264 Gargan, William, 174 | Gigi, 196, 230 Freeland, Thornton, 93 , Garland, Judy, 113, 196, 196 GI, Jane, 376 . free-speech protection, 171 Garmes, Lee, 96, 134 Gilbert, John, 95, 95 freeze-frames, 20, 241, 256, 267 Garnett, Tay, 134 Gilliam, Terry, 251 Freleng, Isadore “Friz,” 128 Gas Food Lodging, 367 Gilliat, Sidney, 219. French Cancan (aka Only the French Can), Gaslight, 113 Gimme Shelter, 280

231 Gasnier, Louis J., 38 Ging chaat goo si (Police Story), 336

French Censor Board, 244 I] Gattopardo (The Leopard), 262, 262 Ginger e Fred ( Ginger and Fred), 315

French Resistance, 254 Gaumont, Léon, 13, 15 Gin gwai ( The Eye), 337

Frenzy, 288 152 The Girlfriends, 215 The Freshman, 37 gauzes, 57 The Girl from Chicago, 46

Frend, Charles, 153 Gaumont studios, 13, 14, 15, 27, 29, 53, 148, Gin gwai 2 (The Eye 2), 337

Die Freudlose Gasse ( The Joyless Street), 85 gay rights, 266 The Girl from Missouri, 132 Freund, Karl, 85 Die Geduld der Rosa Luxemburg (Rosa Lux- Girl Happy, 275

Friday Foster, 372, 372 emburg), 307 The Girls, 257

“friendly witnesses,” 181 Gehr, Ernie, 286 Girls! Girls! Girls!, 275 Friese-Greene, William, 6 Gelegenheitsarbeit einer Sklavin (Part-Time Girls in Chains, 121

The Frighteners, 328 Work of a Domestic Slave), 306 Gish, Lillian, 24, 26, 70

Fritsch, Gunther von, 186 gendai-geki, 86 Gitai, Amos, 332

Fritz Kortner Rehearses, 306 The General, 36, 36 Giulietta degli spiriti (Juliet of the Spirits), Frébe, Gert, 267 General Electric, 377 258, 259 From Here to Eternity, 180, 193 General Film Company, 29 Gladiator, 376

From Russia with Love, 266 The General Line (aka Old and New), 75 Les Glaneurs et la glaneuse (The Gleaners and

The Front Page, 100 General Post Office (Britain) film unit, 152, I), 228

Fucking Amdl (Show Me Love), 322 153, 236 The Glass Key, 365

The Fiihrer Gives a City to the Jews, 155 A Generation, 236 The Gleaners and I, 228 :

Fukasaku, Kenta, 340-341 Le Genou de Claire (Claire’s Knee), 250 Glitterbug, 317

Fukasaku, Kinji, 340, 341 genre films, 68, 364 Glumov’s Diary, 73

Fulci, Lucio, 315 Genroku chushingura (The Loyal 47 Ronin), The Goalie’s Anxiety at the Penalty Kick, 309

Il Fuoco (The Flame), 67 161 Godard, Jean-Luc, 138, 148, 192, 228, 239, The Full Deck, 146 Gente del Po (People of the Po River), 215 242248, 243, 254, 272, 274, 309,

Fuller, Samuel, 188, 191-192, 246, 289 Gentleman’s Agreement, 177, 180 310, 320 Full Metal Jacket, 270 George Eastman company, 5 | The Godfather, 353

The Full Monty, 319 . Georgia Rose, 46 The Godfather: Part If, 353

fumetti comic books, 212 Gerasimov, Sergei, 299 The Godfather: Part II, 353

The Funeral, 373 German Film Board, 302 God of Thunder, 300 |

Fiinfter Akt, siebte Szene: Fritz Korner probt Germania anno zero (Germany, Year Zero), God’s Gift, 333

... (Fritz Kortner Rehearses), 306 © 168, 169 God’s Step Children, 46

Fun in Acapulco, 275 Germany, 6, 20, 7885, 107, 153-158, 233-234, | Godzilla, 290-291 Furie, Sidney J., 266 271-273, 289, 302-309, 325. See also Goebbels, Joseph, 83, 153, 154, 155, 158

Furthman, Jules, 100 East Germany Go Fish, 368

Fury, 103 Germany in Autumn, 306 “go-go eighties,” 363

Futureworld, 382 Germany Year 90 Nine Zero, 320 | Go, Go Second Time Virgin, 290 Os Fuzis (The Guns), 293 Germany, Year Zero, 168, 169 Gojira (Godzilla), 290-291

Fyrst, Walter, 69 | Germi, Pietro, 212, 260 Goldberg, Jakub, 294

Gerron, Kurt, 155 Gold Diggers of 1933, 93, 94 | Gaal, Istvan, 295 Gershwin, Ira, 179 The Golden Coach, 231 Gabin, Jean, 146, 146 Gertie the Dinosaur, 19, 19 Der Goldene See (The Golden Lake), 81 Gable, Clark, 92, 133, 178 Gertrud, 64 The Golden Fish, 235 Galeen, Henrik, 79 Geschichtsunterricht (History Lessons), 273 Golden Harvest Studios, 336 —

Gallipoli, 326 Getino, Octavio, 293 The Golden Lake, 81 |

Gallone, Carmine, 68, 140, 159 Getting Gertie’s Garter, 119 Golden Lion. See Venice Film Festival

Gallone, Soava, 67 Ghatak, Ritwik, 211-212, 330 Goldfinger, 266, 267 Gance, Abel, 54—55, 272 Ghost Busters, 329, 364 . The Gold Rush, 33

Ganga Bruta (Brutal Gang), 165 “ghost directors,” 317 Goldwyn, Samuel, 31, 33, 44

421

INDEX

Goldwyn Pictures, 33 Greengrass, Paul, 376 The Hand, 363

Der Golem (The Golem) [1915], 79 The Green Light, 118 handheld cameras, 241, 261, 267, 283, 313, Der Golem, wie er in die Welt kam [1920], 79, “green screen” technology, 381 344, 349

80 Greenstreet, Sydney, 121, 135 Héindler der vier Jahreszeiten (The Merchant

Goncharov, Vasili, 70 Gregory, Andre, 365 of Four Seasons), 304 Gone with the Wind, 96, 133-134, 188 Gremlins, 364 The Handmaid’s Tale, 307

Gonin no Sekkohei ( Five Scouts), 161 Griaule, Marcel, 229 The Hand That Rocks the Cradle, 27 Gonzalez Ifarritu, Alejandro, 332, 344 Grier, Pam, 372, 372, 373 Hangmen Also Die, 104

Goodfellas, 351 Grierson, John, 152, 236 Hanks, Tom, 373, 383

Good Night, and Good Luck, 377 Griffith, D. W., 15, 22—26, 33 Hanna, William, 129 The Good Soldier Schweik, 235 Griffith, Melanie, 362 Hanneles Himmelfahrt (Hannele Goes to

The Good, the Bad, and the Ugly, 264 “grind” houses, 90 Heaven), 154

Good Will Hunting, 364 Grizzly Man, 308 Hanoi, martes 13 (Hanoi, Tuesday the 13th), Goodwins, Leslie, 111 Die Grofe Liebe (The Great Love), 155 293

The Goons, 267 Groupe Dziga Vertov, 247 Hansel, Howard, 38 Goraczka (Fever), 324 Groupe Octobre, 138 Hansen, Kai, 70 Gordon, Roy, 174 Guazzoni, Enrico, 20, 23, 66 Hansen, Rolf, 155

G6ren, Serif, 348 Guelwaar, 300 Hans Westmar, 154

Gorky Film Studio, 299 Guerra, Ruy, 293 Hanussen, 325

Gosford Park, 360 La Guerra e il sogno di Momi (The War and Hanyo (The Housemaid), 341

Gosho, Heinosuke, 86 Momi’s Dream), 67 The Happiest Days of Your Life, 219 The Gospel According to St. Matthew, 260 La Guerre est finie (The War Is Over), 249 Happiness, 251

Gossette, 56 Guest, Val, 221 Happy Birthday, Tiirke! (Happy Birthday),

Gothic horror fantasies, 79, 221—222 Guillermin, John, 353 310

Gould, Elliot, 256 Guinness, Alec, 217, 218, 219 The Happy Family (Mr. Lord Says No),

Goulding, Edmund, 92, 113, 125 Guiol, Fred, 39 222-223 government incentives, 325, 339. See also Gulf & Western Industries, 377 Hard Boiled, 337

state subsidies Gulliver’s Travels, 130 hard-boiled detectives, 100, 375

Go West, 133 Gun Crazy (ak a Deadly Is the Female), 366 hard-boiled films, 118, 337, 365

The Graduate, 279 Gitiney, Yilmaz, 309, 347-348 A Hard Day’s Night, 267

Gran Casino, 166 : The Gun Fighter, 38 Hard, Fast and Beautiful, 195

Le Grand Blanc de Lambaréné (The Great The Guns, 293 Hardy, Oliver, 39, 39-40 White of Lambaréné), 335, 335 Gunzburg, Milton L., 185 Hark, Tsui, 337 La Grande Illusion (The Grand Illusion), 138, Gutiérrez Alea, Tomas, 293 Harlan, Veit, 154, 155

139 Guy, Alice, 13-16, 14, 16, 89 Harlow, Jean, 92, 132

Grand Hotel, 92, 113 Gyakufunsha kazoku (The Crazy Family), 339 Harris, Richard, 265 The Grand Illusion, 138, 139 Gycklarnas afton (Sawdust and Tinsel), 206 Harron, Mary, 368

Le Grand Jeu ( The Full Deck), 146 Harry Potter and the Prisoner of Azkaban, 344

Grandmother, 333 Hackman, Gene, 353 Hart, William S., 38 Grand-pére raconte (Fad’jal), 334 Hadduta misrija (An Egyptian Story), 332 Harum Scarum, 275

Grand Prix du Film Frangaise, 57 Hail Mary, 320, 320 Harvey, Laurence, 265

Grand Slam, 131 Hail the Conquering Hero, 117 Harvey, 173

Granger, Farley, 216 Hairspray, 362 Hatari!, 289

Grant, Cary, 100, 100, 102, 113 Halas, John, 224 Hathaway, Henry, 187 Granval, Charles, 66 Halas & Batchelor Cartoon Films, 224-225 Hawks, Howard, 99-101, 187, 199, 282, 289, The Grapes of Wrath, 97, 98 Halbblut ( The Half-Breed), 81 358, 360, 374 graphic artists, 276, 376 Haley, Bill, 196 Hiaixan (Witchcraft Through the Ages), 69 Greaser’s Palace, 287 The Half-Breed, 81 Hayden, Sterling, 179, 181, 270 Great Britain, 237. See also British national Ett Héli mitt hjarta (A Hole in My Heart),322 Haynes, Todd, 304

cinema; England Hallelujah!, 51, 51 Hays, Will H., 51, 131

Great Depression, 90, 130 Haller, Ernest, 134 Haysbert, Dennis, 304 The Great Dictator, 104, 105 Halloween, 358, 359 Hays Office, 41, 132 . Great Expectations, 149 DPHallucination de Valchemiste (The Halluci- Hayworth, Rita, 111 The Great Lie, 125 nating Alchemist), 12 Head Against the Wall, 233 The Great Love, 155 The Hallucinating Alchemist, 12 “Health Realism” films, 338 The Great McGinty, 116 Halprin, Daria, 282 Hearst, William Randolph, 109 The Great St. Trinian’s Train Robbery, 219 Hamer, Robert, 153, 218 Heart of Paris, 57

The Great Train Robbery, 16, 17-18, 18 Hamilton, Guy, 266 Heaven Can Wait [1943], 107 The Great White of Lambaréné, 335, 335 Hamlet [1948], 225 Heavenly Creatures, 328

Greed, 43, 141 Hamlet [1990], 315 Hecht, Ben, 99 Green, Danny, 218 Hammett, 309 Hedren, Tippi, 288 Green, Alfred E., 131, 182 Hammer Films, 221-222 Heckerling, Amy, 366

Greenaway, Peter, 318 Hammid, Alexander, 283 Heffron, Richard T., 382

Green Card, 327 Hancock, Herbie, 269 He Got Game, 369, 370 422

INDEX

Heimgekehrt, 79 Holden, William, 201 Howard, Leslie, 134 Heisler, Stuart, 365 Holger-Madsen, 69 Howard, Trevor, 150

Heinrich, Hans, 234 A Hole in My Heart, 322 Howard, Ron, 191, 357, 373

Héléne, 57 Holiday [1949], 225 Howe, James Wong, 96

Hellman, Lillian, 134 The Holiday [2006], 368 How the West Was Won, 187

Hello, Sister, 44 Holland, Agnieszka, 324-325 Hoyt, Harry O., 48

Help!, 267 Holland, 321 Hsimeng jensheng (The Puppetmaster), 337

Hemmings, David, 268 Holloway, Stanley, 218, 219 Huang tu di ( Yellow Earth), 338

Henabery, Joseph, 38 The Hollow Man, 322 Hudson, Rock, 193

Henreid, Paul, 135 Hollywood, 31~32, 34, 49, 109, 114, 131, 141, The Hudsucker Proxy, 365

Henry & June, 278 178-182, 194, 195, 201, 274-275, Huggins, Roy, 181

Hepburn, Audrey, 201 322, 326, 328, 351, 376 Hughes, Howard, 99, 182 Hepburn, Katharine, 100, 100, 113, 123, 124, Hollywood Ending, 361 Huillet, Daniéle, 272~273, 302 180 Hollywood films worldwide, 87-88, 136, The Human Beast, 139

Hepworth, Cecil M., 20, 68 154 human body, 8, 157, 384

Herakles, 307 Hollywood independent films, 282-283 The Human Condition, 290

He Ran All the Way, 181 Hollywood Ten, 179-181 Human Desire, 139

The Herd, 348 The Hollywood Ten, 181 The Human Pyramid, 230

Heroes Shed No Tears, 336 Holy Smoke, 328 The Human Voice, 170

Der Herr der Liebe (Master of Love), 81 The Homesteader, 46 Human Wreckage, 41

Der Herrscher (The Ruler), 154 Homolka, Oskar, 153 Humayun, 163 Herzog, Werner, 302, 307-308, 350 Honda, Ishiré, 291 Humoresque, 117 Hessling, Catherine, 64 Hondo, Med, 333 The Hunchback of Notre Dame [1911], 54 Higher Learning, 372 Honegger, Arthur, 54 The Hunchback of Notre Dame [1923], 39

High Hopes, 318 Hong Kong, 336-337, 339 Hungary, 295, 325-326

Highland Dance, 9 Honogurai mizu no soko kara (Dark Water), Hung Kam-Bo, Sammo, 336

High School, Noon, 192, 192 340 Hunter, Holly, 328 High 280 Hook, 354 Hunter, Jeffrey, 99 High Sierra, 119 Hope, 347 Hunter, Tab, 362 High Society, 196 Hopkins, Anthony, 364 Hurt, John, 375

The Highway, 164 Hopkins, Miriam, 106, 178 Hurt, William, 342

El Hijo de la novia (Son of the Bride), 343 Hopper, Dennis, 278, 279 Husbands, 283, 365 | Hill, Jack, 372 La Hora de los hornos: Notas y testimonios Hustle & Flow, 372

Der Himmel iiber Berlin ( Wings of Desire), sobre el neocolonialismo, la violencia Huston, John, 121, 179, 295

| 309 y la liberacioén (The Hour of the Fur- Huston, Walter, 121

Hippler, Fritz, 154 naces), 293 Hypocrites, 27 . LHippocampe (The Seahorse), 63 The Horn Blows at Midnight, 119

Hiroshima mon amour (Hiroshima, My Love), Horner, Harry, 182 IATSE, 180 228, 248, 248, 367 horror films, 39, 80, 91, 119, 120, 153, I, a Black Man, 229

Hirschmiiller, Hans, 304 221-222, 263, 281, 288, 315, 328, I Accuse, 155

His Girl Friday, 100, 360 329, 337, 363, 371, 373, 378. See also I Am a Fugitive from a Chain Gang, 118 . LV Histoire d’Adéle H. (The Story of Adele H.), “behemoth” films; ghost stories; I Am Curious (Yellow), 258

242 Gothic horror fantasies; “J-Horror”; Ich klage an (I Accuse), 155

Une Histoire immortelle (The Immortal monsters; psychological thrillers; Ich und Er (Me and Him), 310

Story), 289 supernatural thrillers; suspense Ich will doch nur, da ihr mich liebt (I Only

La Historia oficial (The Official Story), 344 dramas Want You to Love Me), 304 historical dramas, 152, 155, 159, 155, 159, Horror of Dracula (Dracula), 221, 222 The Icicle Thief, 315

161, 261, 270, 272, 313, 314, 323, Horse Feathers, 133 IDHEC, 148

326, 327, 333, 334, 343, 364, 371, Horse Shoeing, 7 Idi i smotri (Come and See), 322

372, 376 Hospital, 280 Idioterne ( The Idiots), 350

History Lessons, 273 hospital dramas, 289 I Don’t Want to Talk About It, 343

A History of Violence, 329 Hotel Monterey, 310 I Even Met Happy Gypsies, 297 | Hitchcock, Alfred, 69, 101-103, 148, 185,187, | Hou Hsiao-hsien, 337 Tf..., 145, 265, 265

199-200, 242, 275~277, 288 The Hound of the Baskervilles [1959], 222 I Found Stella Parish, 125

The Hitch-Hiker, 195 The Hour of the Furnaces, 293 Tkiru (To Live), 204

Hitler—ein Film aus Deutschland (Our Hitler: | House by the River, 197 Il était une chaise (A Chairy Tale), 236

A Film from Germany), 306 The Housemaid, 341 Illumination, 324

Hitlerjunge Quex: Ein Film von Opfergeist der House of Dracula, 120 | I Love You, I Love You, 249 deutschen Jugend (Our Flags Lead Us House of Frankenstein, 120 Tluminacja (Illumination), 324

Forward), 154 The House of Mirth, 318 Im Kwon-taek, 341-342

Hitler’s Children, 119 The House of the Angel, 343 “image lantern,” 2

Hodges, Mike, 318 House of Wax, 185 Imamura, Shohei, 290, 331

Hofer, Franz, 79 House Un-American Activities Committee I Married a Communist (a k a The Woman on

Hoffman, Dustin, 278, 279 (HUAC), 178-182 Pier 13), 182 423

INDEX

I Married a Witch, 141 Io ballo da sola (Stealing Beauty), 315 Je t'aime, je t'aime (I Love You, I Love You), Im Innern des Wals (In the Belly of the Whale), I Only Want You to Love Me, 304 249

310 : Io speriamo che me la cavo (Ciao, Professore!), La Jetée (The Pier), 251

Imitation of Life, 191 315 Je, tu, il, elle (I, You, He, She), 310 The Immortal Story, 289 The Ipcress File, 266 Jeunet, Jean-Pierre, 320 I’m No Angel, 130 . Iran, 345-347 Jeux interdits (Forbidden Games), 230 } IMP, 29, 30, 33 Irani, Ardeshir, 164 Je vous salue, Marie (Hail Mary), 320, 320 Impressionen unter Wasser ( Underwater Im- Irazoqui, Enrique, 260 The Jew’s Christmas, 27

pressions), 158 The Iron Horse, 48 Jezebel, 122

Impressionism, 56 Irons, Jeremy, 295 JFK, 363 improvisation, 244, 246, 251, 283 Irreversible, 320 ! “J-Horror,” 339-341 In a Lonely Place, 173 Ishii, Sogo, 339 jidai-geki, 86 :

Ince, Thomas, 28, 28-29 I Shot Andy Warhol, 368 Jing wu men (Fist of Fury,ak a The Chinese The Incredible Shrinking Man, 197-199, 198 Ishtar, 378 Connection), 336 Indagine su un cittadino al di sopra di ogni Islamic films, 345 Jinruigaku nyumon: Erogotshi yori ( The

sospetto (Investigation of a Citizen Isou, Isidore, 230-231 Pornographers), 290

Above Suspicion), 261 It, 38 Jivin’ in Be-Bop, 47

independent films, 283, 365 It Aint No Sin, 132 Joe’s Bed-Stuy Barbershop: We Cut Heads, 369 Independent Moving Pictures Company Italian for Beginners, 350 Johanssen, Scarlett, 367

(IMP). See IMP An Italian Straw Hat, 58 Johnny Dangerously, 366

independent producers, 28, 34, 99, 111, 173 Italiensk for begyndere (Italian for Beginners), Johnny Stecchino (Johnny Toothpick), 316

India, 88, 163—164, 210, 330-332 350 Johnson, Arnold, 287 India Cabaret, 331 Italy, 20, 66-68, 159-161, 168-171, 212-217, Johnson, Ben, 98

Indiana Jones and the Last Crusade, 354 237, 245, 258-262, 313-316, 323 Johnson, Celia, 150 Indiana Jones and the Temple of Doom, 278, It Happened One Night, 92 Johnson, Noble, 45-46

354 It’s a Wonderful Life, 112, 113 Le Joli Mai (Lovely May), 251

The Indian Tomb, 289 Ivan Groznyy (Ivan the Terrible), 77 Jolson, Al, 50, 50

Indian War Council, 10 Ivanovo detstvo (Ivan’s Childhood), 322-323 Joly, Henri, 6 Das Indische Grabmal (The Indian Tomb), Ivan the Terrible, 77 Jones, Chuck, 128

289 Pve Got to Sing a Torch Song, 128 Josephson, Erland, 323 |

industrial films, 225 I Walked with a Zombie, 120 Jourdan, Louis, 107

“information booth” filming, 98 I Was a Fireman, 152 Jour de féte (Holiday), 225

The Informer, 97 I Was Born, But... , 86 Journal dun curé de campagne (Diary of a

L'Ingénue libertine (Minne), 230 Iwerks, Ubbe (“Ub”), 126, 127 Country Priest), 226

Ingram, Rex, 38, 44 I, You, He, She, 310 Journey into Fear, 111

LInhumaine (The Inhuman Woman, aka Journey to the Beginning of Time, 234 The New Enchantment), 57 Jackie Brown, 373 Le Jour se léve (Daybreak), 146 L’Inondation ( The Flood), 55 | Jackson, Peter, 328, 383 La Joven (The Young One), 291 In Praise of Love, 320 Jackson, Samuel L., 371, 372, 374 The Joyless Street, 85

In Search of Famine, 330 Jacoby, Georg, 67 Jubilee, 317 The Insect Woman, 290 Jag ar nyfiken—en film i gult (I Am Curious Judex, 53

Inside Man, 369 [Yellow]), 258 Judgment in Stone, 250 Institut des Hautes Etudes Ciné- Jagger, Mick, 270 Judith of Bethulia, 23

matographiques (IDHEC), 148 Jalsaghar (The Music Room), 210-211, 211 Judo Saga, 161 intercutting, 17, 23, 25, 73, 241, 298. See also Jama Masjid Street Journal, 331 Jud SiifS (Jew Siiss), 154

cross-cutting James, Sidney, 220 Jugend (Youth), 154

Interiors, 360 James Bond films, 266 Juggernaut, 267

Intermission, 58 Jancs6, Miklés, 295-296, 296, 326 Jujiro (Shadows of the Yoshiwara), 87 International Alliance of Theatrical Stage Jannings, Emil, 84, 85 Jukti, Takko Aar Gappo (Reason, Debate and a

Employees (IATSE), 180 Japan, 85-87, 161-162, 203-206, 237, Story), 212

Internet downloads, 379 290-291, 339—341 Jules et Jim (Jules and Jim), 240, 241 intertitles, 247, 267 Jarman, Derek, 266, 316-317 | Julia, Raul, 342

Interview, 330 Jarmusch, Jim, 365 Julian, Rupert, 39, 48

In the Belly of the Whale, 310 Jarrico, Paul, 194 Julien Donkey-Boy, 350 In the Cut, 328 Jasset, Victorin-Hippolyte, 15 Juliet of the Spirits, 258, 259

Intolerance, 15, 25-26, 26, 66 Jaws, 353, 354 Jumping Jacks, 201

Intruder in the Dust, 49 The Jazz Singer, 50, 50-51, 90 Der Junge Torless (Young Torless), 306 Invasion of the Body Snatchers [1956], 198 Jeanne Dielman, 23 Quai du Commerce, 1080 Jungfrukdillen (The Virgin Spring), 207, 208

Les Invasions barbares (The Barbarian Inva- Bruxelles, 311, 311 Jungle Fever, 369, 370

sions), 329 Jean Taris, Swimming Champion, 63 Ju-on: The Grudge, 340

Invasion USA, 182, 182 . Jenkins, C. Francis, 6 Jurado, Katy, 192

Investigation of a Citizen Above Suspicion, Jennings, Humphrey, 152 Jurassic Park, 355, 383

261 Je pense a vous (You’re on My Mind), 313 Juross, Albert, 244

Invitation to the Waltz, 223 Jésus de Montréal (Jesus of Montreal), 329 Jutra, Claude, 236

424

. INDEX Kaboré, Gaston, 333 A King in New York, 105 Laat sau sen taan (Hard Boiled), 337 Kaddu Beykat (Letter from My Village), 335 King Kong [1933], 48, 92, 93, 328 labor unions, 180, 181

Kaiji soshingeki (Destroy All Monsters!), 291 King Kong [2005], 328 Labourdette, Elina, 147 Kaksen pa Overland ( The Braggarts of Over- King Kong vs. Godzilla, 291 Lacombe Lucien, 252

land), 69 King Lear, 320 Ladd, Alan, 175, 175, 193

Kalatozishvili, Mikheil, 163 —__ King of New York, 373 _ Ladies of the Park, 144,147-148 >

Kalem, 29 King-Size Canary, 129 Ladri di biciclette (The Bicycle Thief), 168,

Kalmus, Natalie, 96 Kingsley, Ben, 355 169, 210

Kama Sutra: A Tale of Love, 331 Kingu Kongu tai Gojira (King Kong vs. Ladri di saponette ( The Icicle Thief), 315

Kanal, 236 Godzilla), 291 The Lady Eve, 117 Kanin, Garson, 140 Kinney National Services, 378 The Lady from Shanghai, 111 Kansas City Confidential, 192 Kino-Pravda films, 71 The Ladykillers [1955], 218

Kapur, Shekhar, 331 Kinski, Klaus, 308, 308 The Lady Tramp, 69

Karina, Anna, 244, 245, 246, 253 Kinugasa, Teinosuke, 87 The Lady Vanishes, 102

70 brae, 1 Laemmle Film Service, 29

Kdrlek och journalistik (Love and Journalism), Kircher, Athanasius, Ars Magna Lucis et Um- Laemmle, Carl, 28, 29, 29-31, 33

Karloff, Boris, 91, 92, 119, 282 Kirsanoff, Dimitri, 62 Lake, Ricki, 362 :

Karlson, Phil, 191—192 The Kiss, 9, 10 Lake, Veronica, 175

Kasdan, Lawrence, 366 Kiss of the Spider Woman, 342 Lambart, Evelyn, 236

Katzelmacher, 304 The Kiss of the Vampire, 222 Lamprecht, Giinter, 305 Kaufman, Philip, 278 Kitano, Takeshi, 341 | Lancaster, Burt, 174, 193, 262, 262 Kaye, Danny, 179 “Kitchen Sink” dramas, 264—265 The Land, 43

Kazan, Elia, 167, 177, 181 Kit Kat, 333 Land of Plenty, 309

Keaton, Buster, 36, 36 Klimov, Elem, 322 Land Without Bread, 166, 209

Keaton, Diane, 361 Kluge, Alexander, 302, 306 Lang, Fritz, 81-83, 103-104, 139, 153, 185, Keitel, Harvey, 328, 334, 373, 373, 374 The Knack... and How to Get It, 267 187, 196-197, 244-245, 245, 289,

Keller, Hiram, 259 Knife in the Water, 293-294, 327 306, 375 Kelly, Grace, 192, 192 Knock on Any Door, 189 Lapis, 284

Kelly, Gene, 179, 180, 195 K-19: The Widowmaker, 367 Langlois, Henri, 188

Kemeny, Adalberto, 165 Kobayashi, Masaki, 290 Lardner, Ring, Jr., 179 Kennedy, Joseph P., 44 Kobieta samotna (A Woman Alone), 325 Lasky, Jesse, 31, 34

Kenton, Erle C., 120 : Koko the Clown, 130 Lasseter, John, 383

Kerkorian, Kirk, 378 Kolberg, 155 Lasso Thrower, 10

La Kermesse héroque (Carnival in Flanders), Komissar (The Commissar), 323 The Last Days of Pompeii, 20

146 Konec srpna v Hotelu Ozon (The End of Au- The Last Emperor, 315 |

Kerr, Deborah, 193 gust at the Hotel Ozone), 297 The Last House on the Left, 208

Kershner, Irvin, 358 Kopalin, Ilya, 162 Last Hustle in Brooklyn, 369

Key Largo, 121 Korda, Alexander, 141, 146, 148, 223 The Last Laugh, 84, 85 Keystone Film Company, 32-33 Korda, Zoltan, 134, 150 The Last Metro, 242 Keystone Kops troupe, 32, 32-33 Korea, 341-342 The Last of England, 316, 317

Khan, Mehboob, 163 Korine, Harmony, 350 The Last Starfighter, 382 Khane-ye doust kodjast? (Where Is the Friend’s — _Koérkarlen (The Phantom Carriage), 69 Last Tango in Paris, 315

Home?), 346 Koster, Henry, 173, 184 The Last Temptation of Christ, 351 Kiarostami, Abbas, 346 Kounen, Jan, 309 Last Year at Marienbad, 248-249, 249 Khoua, Choui, 165 The Koumiko Mystery, 251 The Last Wave (aka Black Rain), 326

The Kid, 33 Kovacs, Andras, 295 Late Spring, 205, 205

Kid Auto Races at Venice, 32 Kradetzat na praskovi (The Peach Thief), 298 Latham, Woodville, Gray, and Otway,

Kidman, Nicole, 327, 364 Kragh-Jacobsen, Seren, 350 6, 30

Kieslowski, Krzysztof, 324 Krauss, Werner, 80 “Latham Loop,” 6, 29-30 . Kilenc hénap (Nine Months), 326 Kreitzerova sonata (The Kreutzer Sonata), 70 Latin America, 291-293, 342-344

Kill Bill: Vol. 1, 341, 373 The Kreutzer Sonata, 70 Lattuada, Alberto, 212

Kill Bill: Vol. 2, 373 Kriemhilds Rache (Kriemhild’s Revenge), 81 Laughton, Charles, 115, 150, 15]

The Killer, 337 Kris ( Crisis), 206 Launder, Frank, 219 The Killers, 174 | Krzyzewska, Ewa, 235 Laura, 197

Killer’s Kiss, 269 Kuang liu (Torrent), 164 Laurel, Stan, 39, 39-40 The Killing, 269 Kubrick, Stanley, 269-270, 271 Lauste, Eugene, 89 Kilmer, Val, 363 Kuleshov, Lev, 72, 73 The Lavender Hill Mob, 218, 219

, 425

Kim Ki-young, 341 Kumonosu j6 (Throne of Blood), 204 Law of Desire, 321, 321 Kind Hearts and Coronets, 218 Kunert, Joachim, 297 Lawrence, Florence, 30—31

Kineopticon, 6 Kung Fu films, 373 Lawrence of Arabia, 267, 268

kinetic editing, 77 Kurosawa, Akira, 161-162, 203-205, 263, 291 Lawson, John Howard, 179

Kinetoscope, 6, 8 Kurutta Ippeji (A Page of Madness), 87 lawsuits, 20-21, 30, 172

Kinetoscope parlors, 9, 10 Kusturica, Emir, 325 LBJ, 293 King, Henry, 29, 48, 92 Kyo, Machiko, 203, 206 Leacock, Richard, 279-280 |

INDEX

Lean, David, 149, 223, 267 Life, and Nothing More, 346 London, 55, 69, 268, 294, 295

The Leather Boys, 266 Lifeboat, 102, 103 London Can Take It!, 152

Léaud, Jean-Pierre, 240, 241, 293 Life Is Beautiful, 316 London Films, 141, 150, 223

Leave Her to Heaven, 126 Life Is Sweet, 318 . The Loneliness of the Long Distance Runner, | Lebenszeichen (Signs of Life), 307 Life Is Wonderful, 322 265-266 } Lee, Anna, 289 The Life of an American Fireman, 16 The Lonely Villa, 23 Lee, Bruce, 336 The Life of Oharu, 205 Lone Star, 366 Lee, Christopher, 221, 222 Life on a String, 339 The Long Day Closes, 318 Lee, Spike, 369-371, 370 Life Somewhere Else, 342 The Longest Night, 298

legal restrictions, 173 : lighting, 28, 80, 84, 96, 119, 242, 270, 273, The Long Goodbye, 360

The Legend of Polichinelle, 20 288, 349 long takes, 273, 303, 312, 323, 338 The Legend of Rita, 307 Lightning Over Water, 309 Look Back in Anger, 265

The Legend of the Suram Fortress, 299 The Light of the World, 164 Look Who’s Talking, 366

Leigh, Janet, 275 Lights of New York, 51 Look Who’s Talking Too, 366

Leigh, Jennifer Jason, 366 Like Water for Chocolate, 344 “Looney Tunes and Merrie Melodies” unit,

Leigh, Mike, 318 Lili Marleen, 305 128 Leigh, Vivien, 133 Liliom, 83 Lord of the Rings series, 328, 383 Leisen, Mitchell, 131 Lilja 4-ever (Lilya 4-ever), 322 Loren, Sophia, 105, 315

Lelouch, Claude, 332 Limelight, 105 | Lorimar Television, 378

Lemmon, Jack, 201 Limite (Limit), 166 Lorre, Peter, 83, 121, 135, 153

Lemmons, Kasi, 371 Lincoln Center (New York), 369 Los Angeles, 31-32, 40, 179, 187 Lemon, Genevieve, 329 Lincoln Motion Picture Company, 4546 Loser, 366

Leni, Paul, 79 Lind, Lars, 258 Losey, Joseph, 181, 268 Leonard-Cushing Fight, 9 Linder, Max, 20, 53 Lost Horizon, 112

Leone, Sergio, 263, 264 The Lion Has Seven Heads, 293 Lost in Translation, 367 Der Leone have sept cabegas (The Lion Has Lisberger, Steven, 382 The Lost Weekend, 167, 177

Seven Heads), 293 Listen to Britain, 152 The Lost World, 48 Leonhardt, Gustav, 272 Lisztomanta, 316 The Lost World: Jurassic Park, 356 Léon Morin prétre (Leon Morin, Priest), 254 literary adaptations, 152. Louisiana Story, 43

The Leopard, 262, 262 Little Caesar, 118 Lourié, Eugene, 141

Le Prince, Louis Aimé Augustin, 5, 6 The Little Devil, 316 Loutherbourg, Philippe-Jacques de, 2

LeRoy, Mervyn, 93, 118 Little Man What Now%, 118 Love and Anarchy, 314 lesbian films, 123, 368 Little Miss Marker, 132 Love e& Human Remains, 329

Leslie, Joan, 119 Little Shop of Horrors, 191 Love and Journalism, 70 Lesser, Sol, 76 The Little Soldier, 244 Love Everlasting, 67 , Lester, Richard, 267 The Little Theater of Jean Renoir, 253 Love *47, 233 Let’s Make Love, 289 Little Vera, 323 Love Is Colder Than Death, 303 Let’s Talk About Men, 314 Litvak, Anatole, 167, 177 The Loveless, 366

The Letter, 122 Livesey, Roger, 149 The Lovelorn Minstrel, 299 Letter from an Unknown Woman, 107 Livia, 216 Lovely May,251 |

Letter from My Village, 335 The Lizards, 314 Lovemaking, 284

Letterist Movement, 231 Ljubavni slucaj ili tagedija sluzbenice (P.T-T. The Love Parade, 95, 105 Letyat zhuravli (The Cranes Are Flying), 163 Love Affair; or The Case of the Miss- The Lovers of Mogador, 334

Der Letzte Mann (The Last Laugh), 84, 85 ing Switchboard Operator), 297 Love’s a Bitch, 344

Levin, Henry, 174, 187 Lloyd, Harold, 37, 37 love stories, 201, 216, 240, 257, 297, 322, 331.

Levine, Nat, 34 Lloyd’s of London, 92 See also romances Lewis, Jerry, 201, 202 Lo, Wei, 336 Love Streams, 365 Lewis, Joseph H., 366 Loach, Ken, 318, 331 Lowlands, 158

Lewton, Val, 120, 141, 188, 340 locations, 28, 31, 67, 73, 98, 111, 137, 145, Loy, Myrna, 114, 114, 115 La Ley del deseo (Law of Desire), 321, 321 174, 192, 195, 210, 226, 231, 241, The Loyal 47 Ronin, 161

LHerbier, Marcel, 56, 57, 148 244, 245, 253, 260, 261, 272, 282, loyalty oaths, 182 Les Liaisons dangereuses (Dangerous liaisons) 308, 312, 349 The L-Shaped Room, 266

[1959], 232 | Lock, Stock and Two Smoking Barrels, 318 Lubin, 29 Liang zhi lao hu (Run Tiger Run), 336 The Lodger, 69 Lubitsch, Ernst, 38, 49, 95, 105-107

Lianlian fengchen (Dust in the Wind), 337 Lodz, Poland, 293 Lucas, George, 82, 119, 212, 353-354, 355,

Liberty for Us, 58, 59, 60 Loew, Marcus, 33 356-358, 381

licensing, 30, 126, 171 Lois Weber Productions, 27 Lucia, 293

Than Death), 303 Lola, 306 Lucretius, 2 :

Liebe ist kalter als der Tod (Love Is Colder Lola, Ella, 8 Luci del varieta ( Variety Lights), 212

Liebeneiner, Wolfgang, 155, 233 Lola Montes, 108, 108 Lucrezia Borgia, 66

426 |

Liebe ’47 (Love ’47), 233 Lola rennt (Run Lola Run), 309-310 Lugosi, Bela, 91, 91

Lieutenant Daring series, 68 Lolita, 269 Luhrmann, Baz, 327

The Life and Death of Colonel Blimp, 149 Lom, Herbert, 218 Lumiére, Louis and Auguste, 67

The Life and Death of Pushkin, 70 Lombard, Carole, 99 Lund, Katia, 166, 342

INDEX

Lungin, Pavel, 323 . Maltz, Albert, 179 M*A*S*H, 359-360 Lupino, Ida, 124, 187, 194-195, 195 Malu tianshi (Street Angel), 164 Masina, Giulietta, 213, 213, 258, 259 Lust for Life, 196 . Mamma Roma, 260 masks [on camera lens], 57 Lustig, Rudolf Rex, 165 Mamoulian, Rouben, 95, 96, 193 Mason, James, 107, 113, 200, 217 ) Lynch, David, 374 Man About Town, 142 Massari, Lea, 215 Lyonne, Natasha, 368, 368 Mandabi (The Money Order), 300 al-Massir (Destiny), 332

Lys, Lya, 62 Mandala, 342 Massole, Joseph, 89 A Man Escaped, 227, 251 Master and Commander: The Far Side of the

M, 83 Manhattan, 360 World, 327 MacArthur Foundation, 367 | The Maniac, 222 Master of Love, 81

Macbeth, 111 The Man in the White Suit, 218 Mastroianni, Marcello, 213, 214, 261, 321,

MacDonald, Edmund, 121 Man Is Not a Bird, 297 | 343

Machine-Gun Kelly, 191 - Mankiewicz, Herman, 109 Mat (Mother), 77

Machorka-Muff, 272 Mankiewicz, Joseph L., 275 Match Point, 361 Die Macht der Gefiihle (The Power of Emo- Mann, Anthony, 173, 188, 269 Maté, Rudolph, 63, 198

tions), 306 Mann, Michael, 381 maternal melodramas, 125

Maciste, 68 | Manner...(Men...), 310 La Maternelle (Children of Montmartre), 57,

Maciste films, 68 Man of Aran, 43 58

- Mack, Max, 78 | Man of Ashes, 334 Maternité (Maternity), 57 Mackendrick, Alexander, 218, 365 Man of Iron, 324 Matewan, 366 MacKenzie, Donald, 38 Man on Parallel Bars, 8 The Matrix, 144, 380

MacLaine, Shirley, 201 Man’s Favorite Sport?, 289 The Matrix Reloaded, 380 MacMurray, Fred, 176, 176, 201 Ma nuit chez Maud (My Night at Maud’s), The Matrix Revolutions, 380

Madame Bovary, 137 oe 250 Matsushita, 377 Madame X, 125 | The Man Who Knew Too Much [1934], 69 A Matter of Life and Death (a k a Stairway to Madamu to nyobo (The Neighbor’s Wife and The Man Who Knew Too Much [1956], 103 Heaven), 149, 149

Mine), 86 The Man Who Shot Liberty Valance, 288 mattes, 13, 143

Made in U.S.A., 246 , The Man with a Movie Camera, 71, 71 Mauritania, 333 | Mad Love, 253 “Man with No Name’ series (Leone), 264 May, Elaine, 378 The Mad Masters, 229 The Man with the Golden Arm, 197 May, Joe, 81

Mad Max, 326 Maoro, Humberto, 165 Mayer, Louis B., 31, 33, 92 Mad Max 2: The Road Warrior, 326 Marais, Jean, 143, 232 Maysles, Albert, 279-280

Mad Wednesday, 38 March, Fredric, 122, 180 Mazursky, Paul, 66 | Maggi, Luigi, 20 Marchand, Corinne, 229 MCA, 377 Maggiorani, Lamberto, 168, 169 Marése, Janie, 65 McAllister, Stewart, 152

The Magician, 207, 208 Marey, Etienne-Jules, 3, 4—5 McCabe & Mrs. Miller, 360

Les Magiciens de Wanzerbé (The Magicians of | Maria Candelaria, 165 McCarey, Ray, 39

Wanzerbé), 229 Marianne and Juliane, 307 McCay, Winsor, 19 .

“magic lantern,” 1, 2, 3 Marie Antoinette [1938], 114 McDaniel, Hattie, 134 The Magic Leap, 69 Marie Antoinette [2006], 367 McDowell, Malcolm, 265, 265 Magnani, Anna, 160, 170, 231 — La Mariée était en noir (The Bride Wore McKern, Leo, 268

The Magnificent Ambersons, 110-111 Black), 242 . McLaglen, Victor, 97

Magnificent Obsession, 191 Marius, 146 McLaren, Norman, 236

The Magnificent Seven, 204 Marker, Chris, 239, 251 McQueen, Butterfly, 134

Les Maitres fous (The Mad Masters), 229 Marks, Arthur, 372 Mead, Taylor, 287

Majestic, 30 Marlowe, 336 Me and Him, 310 Majorka-Muff, 272 Marnie, 288 Mean Streets, 351 Makavejev, DuSan, 297 Marquitta, 65 Meatballs, 329

makeup, 39, 358 The Marriage Circle, 49, 105 media conglomerates, 377-379 Makhmalbaf, Mohsen, 345 Mars Attacks!, 374-375 Medium Cool, 280 Makhmalbaf, Samira, 331, 346 Marshall, Garry, 278 The Meetings of Anna, 312

La mala educacion (Bad Education), 321 Marshall, George, 175, 187 Meet John Doe, 112 Ma Vamor mio non muore (Love Everlasting), Marshall, Herbert, 106 Meet Me in St. Louis, 196

. 67Malanga, Martel, Lucrecia, 343 Meet the Feebles, 328 Gerard, 285 martial arts films, 338 Meghe Dhaka Tara (The Cloud-Capped Star), Malanowicz, Zygmunt, 293 Martin, Dean, 201, 202 211-212

Malcolm X, 369, 370 Marvin, Lee, 278 Még kér a nép (Red Psalm), 295, 296 Maldoror, Sarah, 333-334 Marx Brothers, 91, 132, 133, 188 Mehta, Deepa, 330331 : Malenkaya Vera (Little Vera), 323 Marxism, 292 Meine Frau macht Musik (My Wife Wants to

Mali, 333 Mary Poppins, 275 _ Sing), 234

Malkovich, John, 321 Mary Stevens, M.D., 125 Meirelles, Fernando, 166, 342 |

Malle, Louis, 239, 251-252, 365 La Maschera del demonio (Black Sunday), 263 Melato, Mariangela, 314

“Maltese cross movement,” 5, 6 Mascot Pictures, 34 Melford, George, 39

The Maltese Falcon, 121 | Masé, Marino, 244 Méliés, Georges, 11-13 427

INDEX

Méliés production company, 29 Milani, Tahmineh, 347 Mondo Trasho, 362 melodramas, 23, 24, 26, 43, 51, 67, 68, 85, 91, Mildred Pierce, 176, 177 Money [1928], 57 103, 117, 120, 154, 159, 164, 190, Milestone, Lewis, 100, 134, 193 Money [1983], 319

191, 197, 237, 338, 372. See also military comedies, 65, 359 The Money Order, 300 backstage melodramas; domestic Milius, John, 278 Monogram Pictures, 34, 183, 243 melodramas; maternal melodramas; Milland, Ray, 104, 177 Mon oncle (My Uncle), 225 police melodramas; suspense melo- Les Mille et une mains (The Thousand and Mononoke-hime (Princess Mononoke), 339

dramas One Hands), 334 Monroe, Marilyn, 201, 201

Melville, Jean-Pierre, 144, 253—255 1860, 159 Monsieur Verdoux, 104 .

Melvin and Howard, 373 Miller, Frank, 376 Monsoon Wedding, 331

Memorias del subdesarrollo (Memories of Un- Miller, George, 326 Monster from the Ocean Floor, 190

derdevelopment), 293 Miller, Jonathan, 268 monsters, 120, 221, 290-291

Memories of Underdevelopment, 293 Miller’s Crossing, 365 montage, 73, 75, 229, 276. See also repeat

“memory editing,” 249, 298 Le Million (The Million), 58 montages

Men..., 310 The Million Dollar Mystery, 38 Monte Carlo, 95

Men Boxing, 8 Mimi metallurgico ferito nell’onore (The Se- Monterey Pop, 280

Mendiants et orgueilleux (Beggars and Proud duction of Mimi),314 Montgomery, Monty, 366

Ones), 333 Mineo, Sal, 189 Montgomery, Robert, 179

Ménessier, Henri, 15 Minghella, Anthony, 380 Moodysson, Lukas, 322 Meng long guojiang (Return of the Dragon), Ming Hsing, 164 Moolaadé, 301

336 miniatures, 119 The Moon Is Blue, 197

Menichelli, Pina, 67 - minimalism, 272 Moonlighting, 295

Ménilmontant, 62 Ministry of Cooperation (France), 335 Moore, Annabelle Whitford, 8

Menjou, Adolphe, 179, 181 Ministry of Fear, 104 Moore, Demi, 376

Menschen am Sonntag (People on Sunday), 85 Ministry of Information (France), 244 Moore, Dudley, 268 Menzies, William Cameron, 134, 152, 182, Ministry of Propaganda (Germany), 83 Moore, Julianne, 304

188 | Mink Stole, 362 Moore, Michael, 376-377 Mephisto, 325 Minne, 230 moral code, 42 Le Mépris (Contempt), 244-245, 245 Minnelli, Vincente, 196 morals clause, 91, 94

Mercanton, Louis, 23 Minter, Mary Miles, 40 Die Morder sind unter uns (Murderers Are

The Merchant of Four Seasons, 304 Mira, Brigitte, 304 Among Us), 233

Mercury Theatre Company, 108-109, 111 The Miracle, 170, 212 Moreau, Jeanne, 241, 251, 253

Meredith, Burgess, 140 “Miracle” Decision, 171 Morfinisten (The Morphine Takers), 69

The Merry Widow, 44 Miracle in Milan, 217 Morgan, Michéle, 146

Merzbach, Paul, 223 The Miracle of Morgan’s Creek, 117 Mori, Masayuki, 204, 205 Meshes of the Afternoon, 283 Il Miracolo (The Miracle), 170, 212 Morocco, 334 Meshkini, Marzieh, 345—346, 346 Miracolo a Milano (Miracle in Milan), 217 Morocco, 116

“message” pictures, 23, 49 The Mirror [1975], 323 The Morphine Takers, 69 Il Messia (The Messiah), 314 The Mirror [1997], 346 Morrissey, Paul, 285, 309

Messter, Oskar, 20 mirrors, 144 La Mort du cygne (Ballerina), 57

Mészaros, Marta, 325~326 mise-en-scéne, 119, 254 . Morte a Venezia (Death in Venice), 262, Metro Goldwyn Mayer (MGM). See MGM Mission: Impossible I, 337 262-263 Metro-Goldwyn Pictures Corporation, 43 Mission to Moscow, 135 Mosaferan (Travelers), 345

Metropolis, 82, 82, 375 | Mississippi Masala, 331, 332 Moscow Film School, 299 Mexican Knife Duel, 10 Mitchum, Robert, 197 _ Moscow Strikes Back, 162 Mexican Spitfire Sees a Ghost, 111 Mitsou, 230 Moses und Aron (Moses and Aaron), 273 Mexico, 165, 166, 209, 291, 344 Mi vida loca (My Crazy Life), 367 The Most Dangerous Game, 46

Meyer, Russ, 281 Miyazaki, Hayao, 339 | Mosura (Mothra), 291 Meyers, Nancy, 368 Mizoguchi, Kenji, 86, 161, 205-206 __ Mother, 77

MGM, 33, 43, 44, 49, 83, 87, 92, 103, 114, Moana, 43 Motherland, 159 | 127, 129, 133, 160, 172, 179, Mo’ Better Blues, 369, 370 Mothra, 291 195-196, 277, 378 “models,” 226 “motion capture” technology, 384 Miami Vice, 381 model sets, 383 Motion Picture Alliance for the Preservation Micheaux, Oscar, 25, 46—47 Den Moderna suffragetten (The Modern Suf- of American Ideals, 178 Mickey Mouse films, 126 fragette), 70 | Motion Picture Association of America microphones, 95, 123, 347 The Modern Suffragette, 70 | (MPAA), 266, 277

Midnight Cowboy, 278 Modern Times, 104, 105 Motion Picture Distributing and Sales

“midnight movies,” 362 Modot, Gaston, 140 Company, 30

A Midsummer Night’s Dream, 235 moguls, 97 Motion Picture Industries Council, 180 A Midsummer Night’s Sex Comedy, 360 Moi, un noir (I, a Black Man), 229 Motion Picture Patents Company, 21, 29, 31

Mifune, Toshird, 203-205, 204 ‘Molander, Gustaf, 258 Motion Picture Producers and Distributors Mifunes sidste sang ( Mifune), 350 A Moment of Innocence, 345 of America (MPPDA), 40-41 Mighty Aphrodite, 361 Momma Don’t Allow, 264 Motion Picture Production Code, 130-132, Miike, Takashi, 340 Le Monde du silence (The Silent World), 251 171, 197, 277

428

INDEX

“motion studies,” 3, 3 The Music Room, 211, 211 NBC Universal, 377 Moulin Rouge!, 327 Musik I mérker (Night Is My Future), 206 NC-17 rating, 278 | “mountain films,” 78, 156 The Musketeers of Pig Alley, 23 Near Dark, 366

moving camera, 54, 66, 107, 95, 295 Mussolini, Benito, 159 Nederlands Film Archive, 85

Mozzhukhin, Ivan, 72 Musuraca, Nicholas, 96 Ned Kelly and His Gang, 21 MPAA. See Motion Picture Association of Mutual Decision, 171 Neeson, Liam, 355 ,

America Mutual Pictures, 33 Negri, Pola, 38

MPPDA, 40-41 Muybridge, Eadweard, 3-4, 3, 4 Negulesco, Jean, 174

Mr. Arkadin, 289 My Beautiful Laundrette, 318 Nehéz emberek (Difficult People),295. Mr. Hulot’s Holiday, 225 My Brilliant Career, 326 The Neighbor’s Wife and Mine, 86 Mr. Lord Says No, 223 My Darling Clementine, 98 Neighbours ( Voisins), 236 Mrs. Henderson Presents, 318 My Dinner with Andre, 364—365, 365 Nelson, 68

Mr. Shome, 330 My Fair Lady, 275, 289 neo-noir films, 365, 376

Mr. Smith Goes to Washington, 112, 112 My Life to Live, 244 . Neorealism, 66, 159, 161, 168-169, 171, 174, .

Der Miide Tod (Destiny), 81 My Night at Maud’s, 250 177-178, 210, 262 !

Mueller-Stahl, Armin, 325 Myrick, Daniel, 379 Netezza urbana (aka N.U.), 215 Mugnier-Serand, Yvonne, 14 Le Mystére Koumiko (The Koumiko Mystery), Das Neue Kino (New Cinema), 272, 302-309

Mujeres al borde de un ataque de nervios 251 Der Neunte Tag (The Ninth Day), 307 (Women on the Verge of a Nervous mysteries, 275. See also murder mysteries Never Fear, 195

Breakdown), 321 : mystery comedies, 365 The New Adventures of Schweik, 163 |

Mulholland Drive, 374 | Mystery Train, 365 New American Cinema, 283-287 -

multiplane camera, 127 “mythologicals,” 163 Newark Athlete, 8

multiple cameras, 21, 232, 280 My Twentieth Century, 326 New Cinema. See Cinema Novo movement;

Multiple Maniacs, 362 My Uncle, 225 Das Neue Kino; New American Cin-

multiple screens, 54 My Wife Wants to Sing, 234 ema al-Mummia (The Night of Counting the Newell, Mike, 318

Years), 333 Nagarik (The Citizen), 211 The New Enchantment, 57 _

The Mummy, 222 Nagaya shinshiroku (The Record of a Tene- New German Cinema. See Das Neue Kino

The Mummy Returns, 12 ment Gentleman), 162 New Hollywood, 363 |

Miinchhausen (The Adventures of Baron Nair, Mira, 331 New Jack City, 371 Munchausen), 154 . La Naissance, la vie, et la mort de Notre- Newman, Joseph M., 174 :

Muni, Paul, 180 Seigneur Jésus-Christ (The Birth, the Newman, Paul, 378

Munich, 69, 295, 302 Life, and the Death of Christ), 14-15, Newmeyer, Fred C., 37

Murata, Minoru, 86 15 News from Home, 312 Murch, Walter, 380 Nakata, Hideo, 340 Newsfront, 327 | |

Murder!, 69 Naked, 318 newsreels, 21, 54, 56, 71, 77, 154, 162, 165 . Murder at the Vanities, 131 The Naked City, 174 Newton, Isaac, 1 murder dramas, 309 The Naked Kiss, 289 New Wave movement, 148, 225, 228, 239, Murderers Are Among Us, 233 The Namesake, 331 241, 256, 274, 290, 296-297, 301, murder mysteries, 174, 197, 217, 288 Nanook of the North, 42, 42 319, 327, 330, 338. See also British

Murder My Sweet, 119 Naples, 67 New Wave Murder Will Out, 11 Napl6 gyermekeimnek (Diary for My New World Pictures, 256-257

Muriel ou Le temps d’un retour (Muriel, or Children), 326 New York City, 16, 31-32, 40, 55, 177, 278,

The Time of Return), 249 Napoléon, 54, 54-55 283, 285 |

Murmur of the Heart, 252 Nara livet (Brink of Life), 207 . New York Film Festival, 244, 246, 272

Murnau, E W.,, 43, 84 Nargis, 163 New Zealand, 328 Murphy, George, 179 narrative, 13, 14, 20, 21, 22-23, 55, 119, 170, Die Nibelungen, 81 | Murphy, Mary, 190, 190 247, 360, 367, 368 Niblo, Fred, 48 Murray, Bill, 329, 365, 367 Nashville, 360 Nichetti, Maurizio, 315

“muscle man” films, 68 national cinemas, 154, 203, 206, 237 Nichols, Mike, 277, 279 museum screenings, 246 National Film Board of Canada, 236 Nicholson, Jack, 279, 294, 294-295 music, 67, 76, 95, 126, 142, 143, 145, 152, 156, National Lampoon’s European Vacation, 366 Nicht versohnt, oder Es hilft nur Gewalt wo

244, 258, 268, 272, 284, 310, 313, Nattlek (Night Games), 257 Gewalt herrscht (Not Reconciled, or 317, 342, 354, 370 Nattvardsgiisterna ( Winter Light), 255, 258 Only Violence Helps Where Violence

musical dramas, 51 Natural Born Killers, 363-364 Rules), 273

musical romance films, 330 naturalism. See realism nickelodeons, 10 |

musicals, 46, 58, 60, 91, 93, 95, 118, 131, 154, Natural Vision process, 185 Niemczyk, Leon, 293 |

163-164, 167, 195-196, 237, 275, Nay-dalgata nosht (The Longest Night), 298 The Night, 259 |

287, 289, 293, 362 Nazarin, 209 Night After Night, 130

The Music Box, 39-40 Nazarov, Uchkun, 334 | Night and Fog, 230 music hall, 220, 231 | Nazimova, Alla, 35 Night at the Crossroads, 66

musicians, 272 Nazi movement, 83, 154—155, 157 A Night at the Opera, 133

The Music Lovers, 316 Neal, Patricia, 198 Night Editor, 174

Music Man, 224 Neal, Tom, 121 Night Games, 257 429

INDEX

Night Is My Future, 206 La Nuit américaine (Day for Night), 241 Ophiils, Max, 107-108, 187, 230 Night Mail, 152 La Nuit du carrefour (Night at the Cross- optical effects, 271. See also visual tricks

Nightmare on Elm Street, 374 roads), 66 Ordet (The Word), 64 The Night of Counting the Years, 333 Nuit et brouillard (Night and Fog), 230 Ordung, Wyott, 190

Nights of Cabiria, 213 The Nun, 253 Orlando, 319, 319

Nighy, Bill, 384 Nun va Goldoon (A Moment of Innocence), Ornitz, Samuel, 179

nihilism, 259, 290 345 Orphans of the Storm, 26

Nikiema, Joseph, 333 Nuovo cinema Paradiso (Cinema Paradiso), Orphée (Orpheus), 143

Nine Months, 326 315 Oscars. See Academy Awards Nine Queens, 343 Nyby, Christian, 199 Oshima, Nagisa, 290 1900, 315 Nykvist, Sven, 256 Ossessione (Obsession), 160, 168

99 River Street, 192 _ Ostrovski, Grisha, 298

Ningen no joken I, I, II (The Human Condi- Oberhausen Manifesto, 302 Otac na sluzbenom putu (When Father Was

tion), 290 Oberon, Merle, 123 Away on Business), 325

Ninotchka, 106 Oberst Redl (Colonel Redl), 325 Othello, 289 The Ninth Day, 307 Objectif 49, 239 Otklonenie (Detour, a k a Sidetracked), 298 Nippon konchuki (The Insect Woman), 290 Objective, Burma!, 119 Otona no miru ehon—Umarete wa mita

Nishizumi senshacho-den (The Story of Tank Oboler, Arch, 185 . keredo (I Was Born, But... ), 86 Commander Nishizumi), 161 O’Brien, Willis H., 48, 92 O'Toole, Peter, 267, 268

nitrate film, 13, 42 Obsession, 160, 168 Otto e mezzo (82), 214, 314

Nixon, 364 Occupation, 146-148 Ouagadougou, Burkina Faso, 333 Nizza, 63 Ochazuke no aji (Flavor of Green Tea over Ouedraogo, Idrissa, 332, 333

Nobody Lives Forever, 174 Rice), 205 Our Flags Lead Us Forward, 154

No Country for Old Men, 365 Odd Man Out, 149, 217 Our Hitler: A Film from Germany, 306

Noé, Gaspar, 309, 320 Odessa, 73 Our Man in Havana, 217

La Noire de... (Black Girl), 300, 300 Odishon (Audition), 340 Our Music, 320 noir films. See film noir; neo-noir films O Dreamland, 264 Outlook Films, 224 noncommercial filmmaking, 283 Oedipus Rex, 260, 261 Out of Chaos, 224

Nonguet, Lucien, 20 The Official Story, 344 “Out of the Inkwell” cartoon series, 130 nonprofessional actors, 137, 161, 166, 174, OffOn, 283 | Out of the Past, 120 210, 226, 260, 262, 267, 282, 376 Offret (The Sacrifice), 323 Outrage, 195

non-theatrical prints, 203 off-screen space, 162, 226 Outsiders, 300 _ Nora inu (Stray Dog), 203 Of Mice and Men, 193 | overlapping dialogue, 360

Normand, Mabel, 35, 40 O’Herlihy, Dan, 209 Owen, Clive, 318

North by Northwest, 200, 200 | El Ojo de la cerradura (The Eavesdropper), 343 Oxilia, Nino, 67 _

The North Star (ak a Armored Attack), 134 Okada, Eiji, 248 Oz, Frank, 191

Norway, 69 Okasareta hakui ( Violated Angels), 290 Ozawa, Sakae, 206

Nosferatu, 84, 84 O’Kelly, Tim, 282 Ozu, Yasujiro, 85-86, 162, 205 Nosferatu: Phantom der Nacht (Nosferatu the Oktyabr (Ten Days That Shook the World), 75

Vampyre), 308 | Old Acquaintance, 289 Pabst, G. W., 85, 230

Nostalghia (Nostalgia), 323 Old and New, 75 pacing, 146 Notari, Elvira, 66-67 Old Wives for New, 41 Padenie dinastii Romanovykh (The Fall of the Nothing Sacred, 117 Oliveira, Manoel de, 321 Romanov Dynasty), 77 Not Reconciled, or Only Violence Helps Where Oliver!, 217 Page, Jimmy, 269 Violence Rules, 273 Oliver Twist, 149 A Page of Madness, 87 | Notre Dame de Paris (The Hunchback of Olivia ( The Pit of Loneliness), 230 Pagnol, Marcel, 146

Notre Dame), 54 Olivier, Laurence, 149, 225, 317 Painlevé, Jean, 62 Notre musique (Our Music), 320 Olivier, Olivier, 325 Paisa (Paisan), 168, 169

La Notte (The Night), 259 O Lucky Man!, 265 Pal, George, 187

Le Notti bianche (White Nights), 216 Los Olvidados ( The Young and the Damned), Palance, Jack, 245, 245

Le Notti di Cabiria (Nights of Cabiria), 213 166, 166, 208, 342 Palermi, Amleto, 68

Not Wanted, 124, 194-195 Olympia, 156, 157-158 Pallenberg, Anita, 270 Nouvelle Vague. See New Wave movement omnibus films, 306, 309, 331 Palm Beach Story, 117

Novak, Kim, 200 Once Upon a Time in America, 264 Palme d’or. See Cannes film festival Novaro, Maria, 344 Once Upon a Time in the West, 264 Palmer, Tom, 128 Novecento (1900), 315 One and So Many Others, 335 Panahi, Jafar, 346

Novello, Ivor, 68 One Hour with You, 105 Pandora’s Box, 85

Novye pokhozhdeniya Shveyka (The New Ad- 100 Percent Pure, 132 Pang, Oxide and Danny, 337

430

ventures of Schweik), 163 One Mysterious Night, 194 Panj é asr (At Five in the Afternoon), 346

Now, 293 Only the French Can, 231 Panoptikon, 6 Noyce, Philip, 327 On purge bébé, 65 , Panorama, 3 No6z w wodzie (Knife in the Water), 293-294 On the Town, 195 : panoramic image, 184 N.U., 215 On the Waterfront, 181 “pansori” genre, 342 Nuevas reinas (Nine Queens), 343 Open City, 160, 161, 168, 212 Panther, 371

INDEX

pantomime, 33 Pedro Esquirel and Dionecio Gonzales ( Mexi- Picnic at Hanging Rock, 326, 327

paper film, 17 can Knife Duel), 10 Picnic on the Grass, 232 Parade, 225 Peeping Tom, 150 The Pied Piper of Hamelin, 79-80 |

Paradies ( Paradise), 310 Pee-wee’s Big Adventure, 374 The Pier, 251 Paradise |1932], 159 Peixoto, Mario, 165 Pierrot le fou (Pierrot the Fool), 192, 245-246,

Paradise [1986], 310 Penn, Arthur, 274 310

Paradiso (Paradise), 159 Penn, Kal, 331 Pikovaya dama (The Queen of Spades), 70 Parajanov, Sergei, 298-299 Penn, Sean, 332, 361, 364, 366 “pillow shots,” 162

Parajanov: Verjin garun (Parajanov: The Last Pennebaker, D. A., 279-280 Una Pilota ritorna (A Pilot Returns), 215

Spring), 299 People of France, 138 Pinal, Silvia, 209

parallel editing, 17, 228 People of the Po River, 215 Pinelli, Tullio, 170 Paramount Pictures, 34, 40, 44, 69, 75, 87, 91, Pépé le Moko, 146 _ Pink Flamingos, 362, 362 105, 107, 116, 123, 133, 172, 185, Peperoni ripieni e pesci in faccia (Too Much Pink Floyd, 282

377-378 Romance... It’s Time for Stuffed pinku eiga (“pink” film), 290

Paramount Publix, 34 Peppers), 315 Pinky, 167, 177

Paranoiac, 222 Pereira dos Santos, Nelson, 293 Pinocchio,127 The Parent Trap, 368 Performance, 270-271 pirated copies, 13

Les Parents terribles (The Storm Within), 143 The Perez Family, 331 Pinter, Harold, 268

Paretti, Giancarlo, 378 The Perils of Pauline, 38 Pirates of the Caribbean: Dead Man’s Chest,

Paris, 146, 188, 251, 252, 254, 345, 348 Périnal, Georges, 143 384

Paris Does Strange Things, 232 Perkins, Anthony, 275 The Pit and the Pendulum, 281 Paris Is Ours, 253 Per qualche dollaro in pit (For a Few Dollars The Pit of Loneliness, 230

Paris nous appartient (Paris Is Ours), 253 More), 264 Pixar Company, 383

Paris qui dort (The Crazy Ray), 60, 60-61 “persistence of vision,” 1 A Place in the Sun, 75, 193

Paris, Texas, 309 Persona, 208, 255, 255-256 Plane Crazy, 126

Parker, Cecil, 218 perspective, 80 Planer, Franz, 153

Parks, Gordon, 372 Persson, J6rgen, 258 Planet of the Vampires (ak a Planet of Blood),

Parks, Gordon, Jr., 372 Per un pugno di dollari (A Fistful of Dollars), 263

Parks, Larry, 181 263, 263-264 Plan 9 from Outer Space, 374 parodies, 315, 360 Pesci, Joe, 264 Platoon, 363 Parrott, James, 39 Peter the Great, 70 . The Player, 360

Partie de campagne (A Day in the Country), Le Petit Soldat (The Little Soldier), 244 Playtime, 225, 226

138 Le Petit Thédtre de Jean Renoir ( The Little Pleasance, Donald, 294

Part-Time Work of a Domestic Slave, 306 Theater of Jean Renoir), 253 Die Plotzliche Reichtum der armen Leute von

The Party Is Over, 343 Petri, Elio, 261-262 Kombach (The Sudden Wealth of the

Pasolini, Pier Paolo, 260 Petrovic, Aleksandar, 297 Poor People of Kombach), 306-307 Pasqualino Settebellezze (Seven Beauties), 314 Pettersson, Birgitta, 208 Podesta, Alejandra, 343

La Passante ( The Passerby), 334 Petulia, 267 Poetic Justice, 372 | The Passenger, 282 PG-13 rating, 278 Poetic Realism, 146 The Passerby, 334 _ The Phantom Carriage, 69 Point Blank, 278

Passion, 320 “phantom films,” 85 Point Break, 367

A Passionate Stranger, 223 The Phantom of the Opera, 39 La Pointe Courte, 228, 239

La Passion de Jeanne d’Arc ( The Passion of “phantom trains,” 3 point-of-view shots, 74, 186

Joan of Arc), 63, 64 Phantoscope, 6 points of view, 204, 282

The Passion of Joan of Arc, 63, 64 Phenakistoscope, 2 Poklad Ptaciho ostrova ( The Treasure of Bird

The Passion of the Christ, 377 The Phenix City Story, 192 Island), 234 Pastrone, Giovanni, 23, 66, 67 Philadelphia, 373 Pokolenie (A Generation), 236 Pat and Mike, 113 The Philadelphia Story, 113 Poland, 235-236, 293, 295, 324-325

patents, 29-30, 172 Phillips, Alex, 165 Polanski, Roman, 293-295, 294, 327 Pathé, 29, 53 Phoenix, River, 368 police dramas, 358 Pathé-Journal [newsreel], 54 Phonofilm, 89 police melodramas, 223 Pather Panchali (Song of the Road), 210 Photozodtrope, 6 Police Story, 336

Paths of Glory, 269 Piaf, Edith, 231 policiers, 196-197, 203, 223, 254 Patriot Games, 327 Pialat, Maurice, 239 Polish Film School, 293

patriotic films, 67, 127 The Pianist, 295 political dramas, 77, 315, 324, 333, 334

Paul, Robert W., 6 The Piano, 328 political films, 73, 105, 223, 237, 243, 247,

La Paura degli aeromobili nemici (Fear of Piccoli, Michel, 244, 245 265, 291, 292, 293, 295, 298, 301, Enemy Flying Machines), 67 II Piccolo diavolo ( The Little Devil), 316 307, 314, 324, 325

Peach Skin, 57 Pichel, Irving, 46 political thrillers, 244, 288 The Peach Thief, 298 Pichul, Vasili, 323 Pollyanna, 35, 35

Peau de péche ( Peach Skin), 57 Pickens, Slim, 270 Polyester, 362

La Peau douce ( The Soft Skin), 240 Pickford, Mary, 33, 34, 35, 35 Polyvision, 55

Peck, Gregory, 180 Pickpocket, 227, 227 Pommer, Erich, 81 Pecker, 362 Pickup on South Street, 191 Pontecorvo, Gillo, 261 431

INDEX Popiél i diament (Ashes and Diamonds), 235, production-line method, 68. See also The Quiet American, 327

235-236 assembly-line production Quimby, Fred, 129

The Pornographers, 290 production managers, 15, 107 Quinn, Anthony, 213

pornography, 278, 281 production teams, 272 “quota quickies,” 87, 148

Porter, Edwin S., 16-18, 21, 22 Professione: reporter (The Passenger), 282 Quo Vadis?, 20, 23, 67 | Port of Shadows, 146, 146 profits, 379

Portrait of a Lady, 328 Project A, 336 Raat Bhore (The Dawn), 330 Portugal, 321 Projecting Electrotachyscope, 3 Rabal, Francisco, 209 Posse, 371 projectors, 58, 13, 21, 30, 185, 381 Rabbit-Proof Fence, 327

post-production, 95, 381 Prokofiev, Sergei, 76 I Racconti di Canterbury (The Canterbury post-synchronization, 95, 244 La Promesse (The Promise), 313 Tales), 260

Potente, Franka, 310 The Promise, 313 “race” films, 45 Potter, Martin, 259 promotion, 354, 379 racial dramas, 288

Potter, Sally, 319 propaganda, 67, 78, 152, 156, 159, 161, 162, racism, 24, 103, 134, 195, 266, 331, 370

Poujouly, Georges, 230 164, 224, 234, 341 Radev, Vulo, 298 Powell, Jimmy, 303 props, 82, 306 Radio City Music Hall, 40, 55 Powell, Michael, 149-150, 225 Protazanov, Yakov, 70, 77 Raduga ( The Rainbow), 163

Powell, Paul, 35 Protectionist Cinematographic Films Act, 87 Raging Bull, 351, 352 | Powell, William, 114, 114, 115 protest, 244 RAJ, 313 Power, Tyrone, 92, 193 Provincial Actors, 324 Raiders of the Lost Ark, 354 The Power of Emotions, 306 Psycho, 275-277, 276 The Railroad Porter, 45

Powers, 30 psychological dramas, 191 The Rainbow, 163

Prague, 296, 324 psychological thrillers, 102, 197, 250, 337, Rains, Claude, 135

A Prairie Home Companion, 360, 381 340, 366 Raise the Red Lantern, 339, 339 PRC, 34, 121, 183 Ptitzi i hratki (Birds and Greyhounds), 298 Raising a Riot, 224

Prelude to War, 113, 162 Ptolemy, Claudius, 1 Raising Arizona, 365 La Premiére Cigarette (The First Cigarette), PTT: Love Affair; or The Case of the Missing Raja Kumari, 163 |

14, 14 Switchboard Operator, 297 Ramachadran, M. G., 163 Preminger, Otto, 197 publicity, 31, 40, 194 Rank, J. Arthur, 149 Premiere Sound Films, 277 The Public Enemy, 117, 118 Ramis, Harold, 268

Prénom Carmen (First Name: Carmen), Pudovkin, Vsevolod, 77 Rank Organisation, 149, 152

320 Puenzo, Luis, 343, 344 rapid cuts, 276

Presley, Elvis, 275 Pulp Fiction, 344, 365, 372-373, 374 Rappe, Virginia, 40 _ Pressburger, Emeric, 149, 225 punk rock, 367 - Rapsodia satanica (Satanic Rhapsody), 67 Prét-a-porter (Ready to Wear), 360 The Puppetmaster, 337 Rashémon, 203

Prévert, Jacques, 138, 147 “puppet plays,” 2 The Rat, 68

Price, Dennis, 218 puppets, 328 | rating system, 277, 278 Price, Vincent, 374 The Pure Hell of St. Trinian’s, 219 Rat Killing, 9 | Prima della rivoluzione (Before the Putney Swope, 287, 287 Ratoff, Gregory, 135 Revolution), 315 Pyotr Velikiy (Peter the Great), 70 Rats and Terrier No. 2, 9 Primary, 279 La Pyramide humaine (The Human Pyra- Rats and Terrier No. 3, 9

Prince of Darkness, 359 mid), 230 Rats and Weasel, 9

Princess Chang Ping, 336 Der Rattenfanger von Hameln (The Pied Piper Princess Mononoke, 339 Qingmei Zhuma (Taipei Story), 337, 338 of Hamelin), 79-80 Princess Yang Kwei-fei, 206 Qiu Ju da guan si ( The Story of Qiu Ju), 338 The Raven [1943], 147 |

La Prise de pouvoir par Louis XIV (The Rise of Quaid, Dennis, 304 Ray, Man, 62 Louis XIV), 313 Le Quai des brumes (Port of Shadows), 146, Ray, Nicholas, 173, 189, 309

The Private Life of Henry VII, 150 146 Ray, Sandip, 330

Prix Jean Vigo, 146, 251 “quality British film” movement, 150 Ray, Satyajit, 210

“problem films,” 167, 177-178 The Quatermass Xperiment, 221 Razgrom nemetskikh voysk pod Moskvoy (DeLe Procés (The Trial), 289 Les Quatre Cents Coups (The 400 Blows), 240, feat of the German Armies Near

producers, 28, 33-34, 76, 99, 102, 120, 129, 241 Moscow / Moscow Strikes Back), 162 133, 141, 142, 179, 180, 188, 190, The Queen, 318 reaction shots, 14 195, 223, 281, 302, 379. See also in- Queen Elizabeth, 23, 24 Ready to Wear, 360

dependent producers Queen Kelly, 44 Reagan, Ronald, 179, 180

Producers’ Releasing Corporation (PRC). See The Queen of Spades, 70 Realart Studio, 123

PRC Queen’s award to Industry (Great Britain), realism, 28, 38, 43, 137, 161, 174, 231, 270,

Production Code. See Motion Picture Pro- 222 307, 318, 324, 367, 376. See also

duction Code Queer Edward II, 317, 317 Neorealism

production companies, 15-16, 27, 29, 33, 36, Querelle, 305 The Realization of a Negro’s Ambition, 45 45, 53, 66, 70, 109, 113, 149, 164, Questa volta parliamo di uomini (Let’s Talk rear-screen projection, 306 |

194, 224, 233, 277, 356, 379 About Men), 314 Rear Window, 199

production designers, 188, 316 Que viva Mexico! (ak a Thunder Over Reason, Debate and a Story, 212

production heads, 148, 153, 196 Mexico), 75 Rebecca, 102 432

INDEX

Rebel Without a Cause, 189, 189 Return, 321 Roeg, Nicolas, 270 The Record of a Tenement Gentleman, 162 The Return of Frank James, 104 Rogers, Ginger, 93

Red, 324 Return of the Dragon, 336 Rogers, Leila, 179

The Red and the White, 295 The Return of the Prodigal Son, 332 Roget, Peter Mark, 1

Red Dawn, 278 Return of the Secaucus 7, 365-366 Rohmer, Eric, 148, 228, 231, 239, 250-251

The Red Desert, 259 Return to Life, 299 The Rolling Stones, 280 Redgrave, Vanessa, 269 Reubens, Paul, 374 Romance, 320

Redgrave, Michael, 265, 268 Return to Reason, 62 Roma, citta aperta (Open City), 160, 161 Red Hot Riding Hood, 129 Réve de Noél (The Christmas Dream), 11-12 romances, 33, 35, 67, 108, 119, 289, 343, 360.

Red Line 7000, 289 revenge dramas, 240, 373 See also fantasies; love stories; musiRed Planet Mars, 182 The Revenge of Frankenstein, 222 cal romance films; romantic come-

Red Psalm, 295, 296 reverse-angle shots, 346 dies; “vamp” romances Red River, 101 reverse motion, 13, 143, 157, 267 romantic comedies, 105, 106, 107, 244, 289, “Red Scare” films, 182 Revillon Fréres, 42 313, 321, 325, 347, 350, 360, 365 The Red Shoes, 225 Revue du Cinéma, 187 romantic dramas, 81, 330, 368 Reed, Donna, 193 Rey, Fernando, 209, 292, 334 Romeo and Juliet, 315

Reed, Carol, 149, 217 Rex, 30 Rome, 140, 159, 245, 259

Reeves, Keanu, 380-381, 380 Rhapsody of Negro Life, 47 Romeo + Juliet, 327 La Reégle du jeu (The Rules of the Game), 139, Rhythmetic, 236 Ronet, Maurice, 251, 252

139-140, 140 : Rich, Matty, 371 Room, Abram, 77 :

rehearsals, 114, 318 Rich and Famous, 289 Room at the Top, 265 Reichenbach, Francois, 289 Richardson, Ralph, 217 Room 666, 309

Reichlichtspiegelgesetz (Germany), 153 Richardson, Tony, 264, 265, 267 Rooney, Mickey, 92

Reichsfilmkammer (Germany), 153 Richard II, 225 Roozi ke zan shodam (The Day I Became a

Reid, Dorothy Davenport, 41, 41 Ride Lonesome, 194 Woman), 345-346

Reid, Wallace, 40 Riefenstahl, Leni, 156—158 Rope, 102

Reinhold, Judge, 366 Riff-Raff, 318 Rosa Luxemburg, 307

Reisz, Karel, 264, 265 Righelli, Gennaro, 159 Rosemary’s Baby, 294 Reitman, Ivan, 329, 364 Rth essed (Man of Ashes), 334 Rosetta, 313

Reitz, Edgar, 306 Rilla, Wolf, 359 Rosewood, 372

Reize, Silvia, 310 Ringu (The Ring), 340 Rossellini, Roberto, 159, 160-161, 168, | Relay Race, 295 Ringu 2 (The Ring 2), 340 169-171, 212, 215, 313-314 La Religieuse (The Nun), 253 Rin Tin Tin, 39 Rossen, Robert, 180, 181 religious allegories, 227 Rio Bravo, 358 Rossi-Drago, Eleanora, 215 religious dramas, 64, 118, 260, 377 Rio Lobo, 289 Rouch, Jean, 229-230, 239 remakes, 39, 42, 66, 67, 68, 75, 106, 139, 191, Ripstein, Arturo, 344 The Round-Up, 293 | 204, 208, 212, 219, 289, 308, 323, The Rise of Catherine the Great, 150 Roussel, Myriem, 320

328, 340, 358, 359, 365, 368, 372, The Rise of Louis XIV, 313 Rowlands, Gena, 365

374, 375 Ritchie, Guy, 318 Roxy, 40

Rembrandt, 150, 151 Ritual in Transfigured Time, 283 R rating, 378 | Renaud, Madeleine, 58 Riva, Emmanuelle, 248 The Ruler, 154

Les Rendez-vous d’Anna (The Meetings of The River (Le Fleuve), 210, 231 Run Lola Run, 309 |

Anna), 312 River of No Return, 197 The Running Jumping & Standing Still Film, Rennahan, Ray, 134 Rivette, Jacques, 141, 148, 239, 252-253 — 267 Rennie, Michael, 198 RKO Radio Pictures, 34, 47, 92-93, Run Tiger Run, 336

Renoir, Jean, 64-66, 137-141, 187, 210, 109, 110, 111, 120, 172, La Rupture (The Breakup), 250

231-232, 253, 272 174, 188, 269 Russell, Harold, 122 Renoir, Marguerite, 65 Roach, Hal, 37 Russell, Ken, 316 Rented Lips, 287 Roach, Hal, Jr., 193 Russell, Kurt, 359 Repas de bébé ( Feeding the Baby), 7 The Road, 212-213, 213 Russell, Rosalind, 100, 123 repeated images, 56 road movies, 344, 375 Russia, 70-78 repeat montages, 267 The Roaring Twenties, 119 Russian Ark, 323

“replacement of the real,” 383 Robards, Jason, 264 Russkiy kovcheg (Russian Ark), 323

Report, 284 Robbins, Jerome, 181, 275 Ruttmann, Walter, 85, 165

Republic of Sin, 291 The Robe, 184, 184 ’"R Xmas, 373

Republic Pictures, 34, 111, 118, 119 Roberts, Stephen, 131 Rye, Stellan, 79

Repulsion, 294 Robeson, Paul, 46, 150, 151 Request Concert, 155 Robin and Marian, 267 al-Sa Alik (The Bums), 333 Rescued by Rover, 20, 68 | Robinson, Edward G., 104, 118, 121, 180 Sabotage, 101 Rescued from an Eagle’s Nest, 22 RoboCop, 322 Sabrina, 201 Reservoir Dogs, 372 Rocha, Glauber, 292-293 The Sacrifice, 323 Resnais, Alain, 228, 239, 248-249, 278, 367 rock "vv roll, 196, 278, 284, 309, 310 The Sad Sack, 65

Le Retour a la raison (Return to Reason), 62 Rodan, 291 safari films, 289

Rettig, Tommy, 197 Rodriguez, Robert, 376 Safety Last, 37, 37 433

INDEX

SAG, 179, 180 Sayat Nova (Color of Pomegranates), 299 second-unit directors, 291

The Sage-Brush League, 45 Sayed, Daoud Abdel, 333 ' Secret Agent, 101

Sahara, 134 Sayles, John, 365-366 Secrets & Lies, 318 Saikaku ichidai onna (The Life of Oharu), 205 Le Scandale (The Champagne Murders), 250 The Secrets of Nature, 152

Sailor Beware, 201, 202 scandals, 40, 170 | Sedgwick, Edie, 285

A Sainted Devil, 38 Scandal Sheet, 191 Sedki, Hussein, 237

St. Johns, Adela Rogers, 41 Scanners, 329 Sedmikrasky (Daisies), 296, 297 St. Trinian films, 219-220 Scarface [1932], 99, 374 The Seduction of Mimi, 314

Sakaguchi, Hironobu, 383 Scarface {1983}, 374 Seeta, 164

Sakakibara, Motonori, 383 The Scarlet Empress, 116 Die Sehnsucht der Veronika Voss ( Veronika

Salaam Bombay!, 331 The Scarlet Letter, 70 Voss), 305, 305

Le Salaire de la peur (The Wages of Fear), 147 Scarlet Street, 104 Seidelman, Susan, 309

Salam, Chadi Abdel, 333 scenarios, 310, 318 Sei donne per l'assassino (Blood and Black salaries, 379 scenarists, 41, 81, 212 Lace), 263

Salesman, 280 Scenes from Under Childhood, 284 Seishun zankoku monogatari (Cruel Story of

Salles, Walter, 342 Schary, Dore, 180, 196 Youth), 290, 290 Salo o le 120 giornate di Sodoma (Salo, or The Schenck, Nicholas, 33 Seizure, 363

120 Days of Sodom), 260 Schepisi, Fred, 326 Selbe et tant d’autres (Selbe: One Among

Salute to France, 140 Schindler’s List, 355-356 Many, aka One and So Many Salvador, 363 Schlesinger, John, 267, 278 Others), 335 The Salvation Hunters, 48 Schlesinger, Leon, 128 Selig, 29 Sam & Me, 330 Schlondorff, Volker, 257, 306—307 Sellers, Peter, 267, 268, 269, 270

Sambizanga, 334 Schmidt, Jan, 297 Selznick, David O., 102, 133, 188 Sammy and Rosie Get Laid, 318 Schneider, Maria, 315 Sembéne, Ousmane, 299-301

Le Samourai (The Samurai), 254-255 Schoedsack, Ernest B., 48, 92, 186 Semon, Larry, 35

Samson and Delilah, 115 School Daze, 369 Sen, Aparna, 330 Samt el qusur (The Silences of the Palace), 333 Schreck, Max, 84, 84 Sen, Mrinal, 330

The Samurai, 254—255 Schiifftan, Eugen, 153 Senegal, 299-301, 334 Sanchez, Eduardo, 379 Schtinzel, Reinhold, 154 . Sennett, Mack, 3233

San Demetrio London, 153 Schwarzenegger, Arnold, 382 Sen noci svatojanske (A Midsummer Night’s

Sanders, George, 170 Schwestern oder Die Balance des Gliicks (Sis- Dream), 235 Sanders of the River, 150, 151 ters, or The Balance of Happiness), sensationalism, 363

Sandow, 7-8, 8 307 Senso (aka Livia), 216

Sandrich, Mark, 134 Schygulla, Hanna, 305 Seopyeonje (Sopyonje), 342 Sands of Iwo Jima, 119 Lo Sceicco bianco (The White Sheik), 212 sequels, 9, 291, 337, 340, 355, 356, 358, 364

San Francisco, 114, 283 science fiction films, 12, 77, 82, 83, 197-199, Séraphin, Dominique, 2 | Le Sang des bétes (Blood of the Beasts), 233 221, 241, 245, 251, 261, 270, 316, Sergeant Rutledge, 288 Le Sang d’un poete ( The Blood of a Poet), 322, 323, 328, 340, 344, 354, 356, Serial Mom, 362

142—143 358, 366, 374, 375 serials, 34, 38, 53, 118. See also action serials;

- Sans soleil (Sunless), 251 Scipione ’Africano (Scipio Africanus: The children’s serials

Santana Productions, 173 Defeat of Hannibal), 159 Serpentine Dance, 8

Santesso, Walter, 213 Scoop, 361 Serre, Henri, 241

Sao Paulo, Sinfonia da Metropole (Sao Paulo, scores. See music The Servant, 268 a Metropolitan Symphony), 165 Scorpio Rising, 284, 284 set designers, 15, 156

Sapphire, 266 Scorsese, Martin, 187, 191, 254, 351 set pieces, 245, 275, 315, 383 Sarandon, Susan, 375 Scott, Adrian, 179 sets, 25, 53, 55, 82, 87, 133, 142, 156, 177, 216,

Sarraounia, 333 Scott, Randolph, 194 221, 225, 263, 268, 270, 291, 306 Sdsom i en spegel (Through a Glass Darkly), Scott, Ridley, 82, 263, 375-376 Seven Beauties, 314

255 Scraml, 39 Seven Men from Now, 194

Satanic Rhapsody, 67 Scream, 374 Seven Samurai, 204, 204 Satansbraten (Satan’s Brew), 30305 Screen Actors Guild (SAG), 179 Seventh Heaven, 117

satellite distribution, 382 Screen Directors Guild, 194 The Seventh Seal, 206-207, 207 satires, 104-105, 106-107, 117, 133, 217, 247, screen tests, 285 7 Women, 289 260, 265, 270, 287, 291, 315, 339, screenwriters. See writers The Seven Year Itch, 200-201, 201 : 359, 360, 362, 364, 365, 366 screwball comedies, 99-100, 321, 365 sex and violence, 41-42, 74, 258, 275, 290,

Sattmann, Peter, 310 scriptwriters. See writers 315, 318, 329

saturation booking, 354 The Seahorse, 63 sex comedies, 49, 119, 200, 206, 360, 361

— Saturday Night and Sunday Morning, 265 The Searchers, 98, 99 sex tragedies, 289 Saturday Night Fever, 364 The Search of Sayed Marzouk, 333 sexuality, 311, 314, 315

Savage, Ann, 121 Sears, Fred F., 196, 375 Seyrig, Delphine, 249, 311, 311 Savage Messiah, 316 | The Seashell and the Clergyman, 56, 56, 57 The Shadow Army, 254

Saving Private Ryan, 356 Sebastiane, 317 Shadow of a Doubt, 102 Savoca, Nancy, 368 Seberg, Jean, 243, 243 shadows, 174, 177 Sawdust and Tinsel, 206 The Second Awakening of Christa Klages, 307 Shadows, 365

434

INDEX Shadows of Forgotten Ancestors, 298 Le Silence est d’or (Man About Town), 142 Snyder, Zack, 376

Shadows of the Yoshiwara, 87 The Silence of the Lambs, 373 social commentary, 107, 145, 196, 209, 244,

Shaft, 372 The Silence of the Sea, 254 247, 265, 266, 295, 298, 301, 326,

Shane, 193 The Silences of the Palace, 333 362, 371

Shanghai Blues, 337 silent films, 33, 58, 63, 86-87 socialism, 314 Shanghai Express, 116, 116 The Silent World, 251 “Social Realism,” 78 Shanghai zhi ye (Shanghai Blues), 337 “Silly Symphony” cartoon series, 127 “social reform” films, 163 Shankar, Ravi, 268 Silver City, 366 Socorro Nobre (Life Somewhere Else), 342 Sharif, Omar, 237, 267 Simon, Michel, 65, 65, 66 Socrate (Socrates), 314

Sharp, Don,222. Simon and Garfunkle, 279 Soderbergh, Steven, 323 : Shaw, Robert, 354 Simo6n del desierto (Simon of the Desert), 291 So Far from India, 331

Shaw Brothers Studio, 336 Sinatra, Frank, 180, 193 The Soft Skin, 240 Shawn, Wallace, 365, 365 Sin City, 366 I sognatori (The Dreamers), 315 She Done Him Wrong, 130, 130 Singer, Bryan, 381 Sokurov, Alexander, 323

The Sheik, 38, 39 Singin’ in the Rain, 195 Solanas, Fernando E., 293, 343 Shen, Xiling, 164 Sing si lip yan (City Hunter), 336 Solax Studios, 16

Sheik Hadji Taviar, 10 Singleton, John, 372 Solas, Humberto, 293

Sherlock Jr., 36 Sinise, Gary, 383 The Soldiers, 244

Sherman, Vincent, 289 The Sinking of the Lusitania, 19 Soleil O, 333

She’s Gotta Have It, 369 The Sin of Harold Diddlebock, 38 Solyaris (Solaris), 323

She Wore a Yellow Ribbon, 98, 98 The Sins of Lola Montés, 108 Some Like It Hot, 201 Shichinin no samurai (Seven Samurai), 204, Sinyaya ptitsa (The Blue Bird), 289 Somers, Suzanne, 357

204 Siodmak, Curt, 85 Something's Gotta Give, 368

Shimizu, Takashi, 340 Siodmak, Robert, 85, 120, 153, 174 Sommaren med Monika (Summer with

Shimura, Takashi, 204 Sioux Ghost Dance, 10 Monika), 206

Shivers, 329 Siraa Fil- Wadi (Struggle in the Valley), 237 Sommarnattens leende (Smiles of a Summer

Shizi jietou (Crossroads), 164 Sirk, Douglas, 153, 191, 302, 304 Night), 206, 360 Shock Corridor, 289 Sisters, or The Balance of Happiness, 307 Sommers, Stephen, 12 shock cuts, 256 “Six Moral Tales” (Rohmer), 250-251 Song of Russia, 135, 179 Shockproof, 191 16-mm films, 247, 278, 280, 283, 318, 381 Song of the Road, 210

shomin-geki, 86 Sj6man, Vilgot, 257, 258 Son of the Bride, 343

shooting script, 348 Sjéstr6m, Victor, 69-70, 207 Sono otoko, ky6b6 ni tsuki ( Violent Cop), 241 Shoot the Piano Player, 240 Det Sjunde inseglet (The Seventh Seal), Sony, 378

The Shop Around the Corner, 106 206-207, 207 So Proudly We Hail, 134

Short and Suite, 236 The Skeleton Dance, 127 Sopyonje, 342

Short Cuts, 360 Skladanowsky, Max and Emil, 6 Sora no daikaij Radon (Rodan), 291 short films, 19, 22, 27, 37, 39, 51, 89, 127, 140, Skolimowski, Jerzy, 293, 294, 295 Sorority Girl, 191 152, 183, 184, 223, 235, 236, 239, Skupljaci perja (I Even Met Happy Gypsies), La Sortie des usines Lumiere (Workers Leaving

253, 267, 269, 272, 284, 293, 299, 297 the Lumiere Factory), 7 302, 307, 333, 334, 345, 354, 356 slapstick comedies, 32, 35, 36, 163 So This Is Paris, 49

shot repetition, 256 slasher films, 358 Le Souffle au coeur (Murmur of the Heart),

The Show, 95 Slaughter, Tod, 148 252

Showgirls, 322 Sleep, 285 Souls under the Sun, 335

Show Me Love, 322 Slipping Wives, 39 sound, 15, 46, 50-51, 85, 88, 94~95, 127, 272,

Shub, Esfir, 73, 77 Sliver, 327 312, 337, 349. See also music; stereoShukujo wa nani o wasureta ka( What Didthe slow motion, 143, 145, 153, 256, 267, 274, phonic sound; synchronized sound

Lady Forget?), 162 282 sound cameras, 96

Shumyatskiy, Boris, 78, 162 Small Change, 257 The Sound of Music, 275

sick comedies, 191 Smalley, Phillips, 27 sound-on-disc, 27, 65, 90

Sidetracked, 298 Smert Ioanna Groznogo (The Death of Ivan sound-on-film, 51, 89-90

Sidney, Sylvia, 180 the Terrible), 70 sound shooting, 65-66 Der Sieg des Glaubens ( Victory of Faith), 156 Smiles of a Summer Night, 206, 360 sound stages, 288

Siegel, Don, 198 The Smiling Lieutenant, 105 sound track, 50, 89, 127, 145, 231, 269, 278, Siegfrieds Tod (Siegfried’s Death), 81 The Smiling Madame Beudet, 56 284, 317, 360, 367

sight gags, 225 Smith, Charles Martin, 357 La Souriante Madame Beudet ( The Smiling Le Signe du lion ( The Sign of the Lion), 250 Smith, Jack, 284 Madame Beudet), 56

Sign of the Cross, 115 Smollet, Jurnee, 371 Sous les toits de Paris (Under the Roofs of The Sign of the Lion, 250 Smultronstéllet (Wild Strawberries), 70, 207, Paris), 58

Signore & signori (The Birds, the Bees and the 361 South, 312

Italians), 261-262 The Snake Pit, 167, 177 The Southerner, 140—141 Signs of Life, 307 Snakes on a Plane, 379 Soviet Union, 71-78, 162-163, 235, 298-299,

The Silence, 255 The Sniper, 181 322-323

Le Silence de la Mer ( The Silence of the Sea), Snow, Michael, 286 Sow, Thierno Faty, 300

254 Snow White and the Seven Dwarfs, 126 “spaghetti westerns,” 263-264

435

INDEX | Spain, 209, 321, 334 Die Stille nach dem Schufs (The Legend of Suk san: Sun Suk san geen hap (Zu: Warriors

The Sparrow, 332 Rita), 307 from the Magic Mountain), 337

Spartacus, 269 Stiller, Mauritz, 49, 70 Sullivan’s Travels, 116—117

Speaking Parts, 329 still photographs, 251, 297 Summer in the City, 306

special effects, 11, 13, 15, 48, 82, 92, 270, 310, stock companies, 23, 207, 304 Summer with Monika, 206

350, 353-355, 383. See also digital stock footage, 72, 231, 296 Sun Dance, 8

effects Stolen Kisses, 242 Sunless, 251

spectacle, 20, 41, 66, 67, 115, 154, 164, Stolper, Aleksandr, 163 Sunset Blvd., 201

183—187, 225, 259, 315, 316, 334, Stone, Oliver, 363—364, 376 The Sunset Warrior, 336

351, 376, 382 Stop Making Sense, 373 Sunshine State, 366 Le Spectre (Murder Will Out), 11 stop-motion photography, 234, 235, 236 Super 8 mm home movies, 317, 354 sped-up motion, 267 The Storm Within, 143 Super Fly, 372 Speedy, 37 storyboards, 276 superimpositions, 57, 84 Speer, Albert, 156 The Story of Adele H., 242 | Superman, 364 Spellbound, 102 Story of a Love Affair, 215 Superman Returns, 381 The Spiders, 81 The Story of Temple Drake, 131 surfing movies, 286

| Spetters, 322 The Story of Tank Commander Nishizumi, 161 _ supernatural thrillers, 340 The Spider’s Stratagem, 315 The Story of the Kelly Gang (Ned Kelly and Surrealism, 58-63, 145, 166, 291, 315, 325

Spiegel, Sam, 111 His Gang), 21 Siirii (The Herd), 348

Spielberg, Steven, 119, 242, 278, 309, 353, Stoyanov, Todor, 298 Sur un air de Charleston (Charleston), 64

354-356, 355, 383 La Strada (The Road), 212-213, 213 Susana (The Devil and the Flesh), 208

Spies, 82 Straight Out of Brooklyn, 371 . suspense films, 69, 111, 197, 221, 224, 328,

Die Spinnen (The Spiders), 81 The Straight Story, 374 329, 355

Spione (Spies), 82 Strange Days, 367 Sutton, Dudley, 266

Splash, 373 Strange Illusion, 121 Suzuki, Seijun, 290

split screen, 285 The Strange Ones, 144 Svensk Filmindustri, 70

spoofs, 360 The Stranger, 111 The Swamp, 343

sports, 9, 21, 157, 265 The Stranger Left No Card, 223 Swanson, Gloria, 44, 201

Stachka (Strike), 73 Stranger Than Paradise, 365 Swayze, Patrick, 367

Staféta (Relay Race), 295 The Stranglers of Bombay, 222 Sweden, 69-70, 206-208, 255—258, 322 Stagecoach, 97, 97 La Strategia del ragno ( The Spider’s Swedish national film studio, 257

“staged documentaries,’ 229 Stratagem), 315 Sweet and Lowdown, 361 stage plays on film, 53 Straub, Jean-Marie, 272-273, 302—303 The Sweet Hereafter, 329

Staiola, Enzo, 168, 169 Stray Dog, 203 Sweetie, 328, 329 Stairway to Heaven, 149, 149 Street Angel, 164 Sweet Sweetback’s Baadasssss Song, 371 Stalker, 322, 323 Street Corner, 223 Swept Away, 314 Stanford, Leland, 4 Strictly Ballroom, 327 Swift, David, 368 Stanwyck, Barbara, 117, 124-125, 131, 176, Strike, 73 The Swindle, 213

176, 191 Stripes, 329 Swinton, Tilda, 319, 319

Stardust Memories, 360 Strode, Woody, 264, 289 “sword and sandal” films, 20, 159 A Star Is Born [1954], 113, 117 Stromboli (a k a Stromboli, terra di Dio), 170 Syberberg, Hans-Jiirgen, 306

Starman, 359 strongman films, 68 symbolism, 208

Star of the Sea, 62, 63 Structuralism, 286 | The Symbol of the Unconquered (A Story of Staroye i novoye (The General Line,aka Old The Structure of Crystal, 324 the Ku Klux Klan), 47

and New), 75 The Struggle, 26 synchronized sound, 15, 21, 50, 55, 65-66, Stars, 297 Struggle in the Valley, 237 285

stars, 18, 33, 35-40, 92, 132, 163, 201, 264, Struktura krysztalu (The Structure of Crystal), Szabd, Istvan, 325

267, 336-337, 360, 379 324 Szegénylegények (The Round-Up), 295

Starship Troopers, 383 Der Student von Prag (The Student of Prague),

star system, 31, 114 79 Tables Turned on the Gardener, 6,7 Star Trek: The Motion Picture, 364 The Student of Prague, 79 Tabu, 43

Star Wars, 354, 357 studio bosses, 34 Tag der Freiheit (Day of Freedom), 157

Star Wars series, 82 studios, 31, 33-34, 40, 88, 89, 91-94, 117, Das Tagebuch des Dr. Hart (The Diary of Dr.

state subsidies, 302, 318, 328, 330 136, 149, 153, 172, 179, 183, Hart), 79

stationary cameras, 86, 95, 98 221-222, 239, 243, 256, 336, 353,377 Das Tagebuch einer Verlorenen (Diary of a

‘Staudte, Wolfgang, 233 studio system, 10, 31, 48, 90-94, 97, 114, 136, Lost Girl), 85

Stealing Beauty, 315 163, 172, 196 Taipei Story, 337, 338 Steinhoff, Hans, 154 Sturges, John, 204 Taiwan, 337—338

Steamboat Willie, 126 stunts, 33, 37, 119 Tait, Charles, 21. |

stereophonic sound, 186 Sturges, Preston, 38, 116-117 Take the Money and Run, 360

Sterne (Stars), 297 Submarine Patrol, 97 Taksi-Blyuz (Taxi Blues), 323 Stevens, George, 75, 193 Sud (South), 312 Tales from the Hood, 371

Stevenson, Robert, 182, 275 The Sugarland Express, 354 Tales of Ugetsu, 205 Stewart, James, 102, 112, 113, 173, 199-200 Sugata Sanshiro (Judo Saga), 161 Talking Heads, 373

436

INDEX

A Talking Picture, 321 Le Testament d’Orphée, ou ne me demandez Der Tiger von Eschnapur ( Tiger of Bengal),

Talk Radio, 363 pas pourquoi! (The Testament of 289

The Tall T, 194 Orpheus), 144 Tight Spot, 192 The Taming of the Shrew, 315 Le Testament du Docteur Cordelier (The Testa- _—_ Tillsammans ( Together), 322 Tangos, el exilio de Gardel ( Tangos, the Exile of ment of Dr. Cordelier), 232 Till the End of Time, 119

Gardel), 343 La Téte contre les murs ( Head Against the Time, Inc., 378 , Tang shan da xiong (Fists of Fury), 336 Wall), 233 Time of the Gypsies, 325

Taqdeer (Destiny), 163 Thalberg, Irving, 44, 133 Time to Die, 344

Tarantino, Quentin, 254, 341, 344, 372~373, theater chains, 173 A Time to Live, a Time to Die, 337

376 theater owners, 40, 172, 173 The Tin Drum, 257, 307

Targets, 282 theaters, 40, 45, 90, 149, 172, 173, 176, 379, Tint zabutykh predkiv (Shadows of Forgotten

Taris, roi de Peau (Jean Taris, Swimming 381 Ancestors), 298 |

Champion), 63 Theatre Owners Booking Agency (TOBA), 45 —‘ Tippett, Phil, 383 Tarkovsky, Andrei, 322-323 theatricality, 16, 87, 216, 303, 313 Tire-au-flanc (The Sad Sack), 65 Tarzan the Ape Man, 114, 115 Thelma & Louise, 375-376 Tirez sur le pianiste (Shoot the Piano Player),

Tasaka, Tomotaka, 161 Theorem, 260 240 Tati, Jacques, 225-226 Theresienstadt (The Fiihrer Gives a City to the —_Tisse, Eduard, 70, 73 Taurog, Norman, 201 Jews), 155 Titanic, 382~383 Die Tausend Augen des Dr. Mabuse (The There Was a Father, 162 Titicut Follies, 280

289 The Thief, 323 TOBA, 45 , Thousand Eyes of Dr. Mabuse), They Live by Night, 189 Tlatli, Moufida, 333

Tautou, Audrey, 320 The Thing [1982], 358-359 To Be a Woman, 224

Tauw, 300 The Thing from Another World [1951], 199 To Be or Not to Be, 106-107

Taxi Blues, 323 Things to Come, 134, 152 | To Build a Fire, 184

Taxi Driver, 351, 352 The Thin Man, 114, 114 Todake no kyodai (The Toda Brothers and

Taylor, Elizabeth, 193, 193, 277 The Third Man, 217, 217 Sisters), 162 Taylor, Lili, 368 The 39 Steps [1935], 101, 102 Todd, Michael, Jr., 186 Taylor, Robert, 178, 179 36 Chowringhee Lane, 330 To Die For, 364

Taylor, Rod, 282 This Is Cinerama, 186, 186 : Todo sobre mi madre (All About My Mother), Taylor, Sam, 37 This Land Is Mine, 140 321 Taylor, William Desmond, 40 This Sporting Life, 265 Together, 322 |

“teacup drama,’ 51, 95 This Strange Passion, 208 To Have and Have Not,100

Tea with Mussolini, 315 Thomas, Gerald, 220 Toho Studios, 291 |

technical advisors, 193 Thorpe, Richard, 187 Tokyo Drifter, 290

Technicolor, 96, 127, 133, 149, 225, 231, 245 The Thousand and One Hands, 334 Tokyo monogatari ( Tokyo Story), 205

Techniscope, 244 The Thousand Eyes of Dr. Mabuse, 289 Tokyo nagaremono ( Tokyo Drifter), 290 |

technology, 238, 380-384 | Three Cases of Murder, 224 Tokyo Story, 205 The Teckman Mystery, 224 Three Colors, 324 Toland, Gregg, 96, 109, 110, 165, 188

Teenage Doll,367191 185 267 To teen gang films, 300,3-D 376 films, | Tom Jones,

Live, 204 .

telefono bianco films, 159 Three Little Pigs, 127 Tommy, 316

telephoto lenses, 153, 347 The Three Musketeers [1939], 119 Tong nien wang shi (A Time to Live, a Time to

television, 128, 129, 183, 234, 252, 275, 283, Three on a Match, 118 Die), 337 304, 305, 313, 318, 321, 324, 327, three-screen films, 54—55 Toni, 137, 138

329, 354, 358, 377 “thrill” comedies, 37 Too Much Romance ... It's Time for Stuffed The Tempest, 317 thrillers, 119, 121, 167, 181, 182, 190, 197, Peppers, 315

Temple, Shirley, 97, 132, 132 242, 250, 251, 278, 294, 295, 309, Too Much Sun, 287

Ten, 346 315, 316, 318, 327, 328, 337, 360, Too Young to Love, 223 The Ten Commandments, 41-42 366, 374. See also action thrillers; es- Topaz, 288 Ten Days That Shook the World,75 pionage thrillers; political thrillers; Topsy-Turvy, 318

The Tender Trap, 196 psychological thrillers; supernatural Tornado, 97

Tengoku to jigoku (High and Low), 205 thrillers Tornatore, Giuseppe, 315 Ten Nights in a Bar Room, 26 Throne of Blood, 204 Torn Curtain, 288 The 10th Victim, 261 Through a Glass Darkly, 255 Torre Nilsson, Leopoldo, 343 Teorema (Theorem), 260 Through the Olive Trees, 346 Torrent, 49, 164 Terminator 2: Judgment Day, 382, 382 Thulin, Ingrid, 207 Tosca, 140 Terra Madre (Motherland), 159 Thunder Over Mexico, 75 Total Recall, 322

La Terra trema: Episodio del mare (The Earth Thursday’s Children, 264 The Touch, 256

Trembles), 168 THX 1138 (aka Electronic Labyrinth THX Touch of Evil, 112, 289 Terrore nello spazio (Planet of the Vampires), 1138 4EB), 356 Tourneur, Jacques, 120

263 Tiefland (Lowlands), 158 Tourneur, Maurice, 49

Tess, 295 Tiempo de morir (Time to Die), 344 Toute une nuit (All Night Long), 312

Das Testament des Dr. Mabuse ( The Testa- Tierney, Gene, 126 The Towering Inferno, 353

ment of Dr. Mabuse), 83 Tiger of Bengal, 289 Toye, Wendy, 223-224 | 437

INDEX

Toy Story, 383 | Twentieth Century Pictures, 33 U Turn, 364 tracking shots, 63, 102, 162, 177, 243, 249, 20,000 Years in Sing Sing, 49, 49 U2: The Best of 1990-2002, 309

272, 295, 296, 314 twist ending, 81

Tracy, Spencer, 49, 93, 103, 113 Two Cities Films, 149, 224 Les Vacances de M. Hulot (Mr. Hulot’s

trade papers, 187 Two English Girls, 242 Holiday), 225 Trader Horn, 114 | The Two Faces of Dr. Jekyll, 222 Vadim, Roger, 232, 239

trade unions. See labor unions Two Lives, 78 Valenti, Jack, 277

Traffic, 225 Two Men and a Wardrobe, 293 Valentino, Rudolph, 38, 38-39, 49

La Tragedia su tre carte (Tragedy on Three Two or Three Things I Know About Her, Valli, Alida, 216

Cards), 67 246-247 vampire films, 232

tragedies, 289, 365 Two Rode Together, 288 Les Vampires (The Vampires), 53 The Tragedy of Othello: The Moor of Venice, Two Seconds, 118 “vamp” romances, 67

289 2001: A Space Odyssey, 270 vamps, 35, 38

Tragedy on Three Cards, 67 Tykociner, Joseph T., 89 Vampyr, 64 tragic comedies, 297 Tykwer, Tom, 309 Van Dyke, W. S., 43, 114, 115 training films, 127 typecasting, 35 Il Vangelo secondo Matteo (The Gospel Accord-

nity), 230-231 | Vanity Fair, 331

Traité de bave et d’éternité (Venom and Eter- Tystnaden (The Silence), 255 ing to St. Matthew), 260

Trash, 285 LUccello dalle piume di cristallo (The Bird van Musschenbroeck, Pieter, 3 “trash” aesthetic, 362 with the Crystal Plumage), 315 Van Peebles, Mario, 371

Travelers, 345 UFA, 80, 82, 83, 154, 233 Van Peebles, Melvin, 371

traveling shots, 323 Ugetsu monogatari (Tales of Ugetsu), 205 Van Sant, Gus, 364

travelogues, 286 Ukraine, 334 Varda, Agnés, 228-229, 239, 251 Travolta, John, 366, 374 Ullman, Tracey, 362 Variety Lights, 212

Travolti da un insolito destino nell azzurro Ullmann, Liv, 207, 255, 255 Varlamov, Leonid, 162 mare d’agosto (Swept Away), 314 Ulmer, Edgar G., 85, 121, 188, 366 Vartanov, Mikhail, 299 The Treasure of Bird Island, 234 Gli Ultimi giorni di Pompeii (The Last Days of | Va savoir (Who Knows?), 253

The Treasure of the Sierra Madre, 121 Pompeii), 20, 68 Vasilyev, Dmitri, 76 Tretya meshchanskaya (Bed and Sofa), 77 LUltimo imperatore (The Last Emperor), 315 vaudeville, 35

The Trial, 289 Ultimo tango a Parigi (Last Tango in Paris), Veidt, Conrad, 80, 80, 135

trick photography. See visual tricks 315 Venice Film Festival, 231, 249, 252, 257, 260,

Tri-Ergon sound system, 89 Umberto D., 217 . 338

The Trip, 281 Umut (Hope), 347 Venom and Eternity, 231

A Trip to the Moon, 12 Underground, 325 Vera Drake, 318

Trissenaar, Elisabeth, 325 underground movies, 283, 296 Verbinski, Gore, 340, 384 Triumph des Willens (Triumph of the Will), — Under the Roofs of Paris, 58 Verhoeven, Paul, 321-322, 383

156, 157 Underwater Impressions, 158 Vérités et mensonges (F for Fake), 289

: Trnka, Jiri, 234~235 underwater photography, 157, 158 | Die verlorene Ehre der Katharina Blum...

- Troche, Rose, 368 Underworld U.S.A., 191, 289 (The Lost Honor of Katharina Blum), Troll-Elgen (The Magic Leap), 69 The Unfaithful Wife, 250 307 Tron, 382 Unforgiven, 38 Veronika Voss, 305, 305 | A Trooper of Cavalry K, 45 Ungerer, Lilith, 303 “vertical integration,’ 34, 172

Trots (Defiance), 258 The Unholy Three, 39 Vertigo, 200

The Troubador’s Triumph, 27 Union Pacific, 115 | Vertov, Dziga, 71, 71. See also Dziga Vertov

Trouble in Paradise, 105, 106, 106 unions. See labor unions and by name Collective : True as a Turtle, 224 United Artists Studios, 33, 34, 378 A Very Private Affair, 252

Truffaut, Francois, 148, 188, 239, 240, United 93, 376 Viacom, 377~378

240-242, 257, 274 United States, 6, 69, 136, 137, 140, 142, 154, Viagem ao Principio do Mundo ( Voyage to the

Trumbo, Dalton, 179 167, 171, 221, 244, 246, 253, 254, Beginning of the World), 321

Triimmerfilms, 233 258, 264, 279-290, 294, 310, 326, Viaggio in Italia ( Voyage in Italy), 170

Trust. See Edison Trust 329, 340, 342 : Victim, 266

The Truth About Women, 223 United States Constitution, 171 Victory of Faith, 156 Trzy kolory (Three Colors), 324 United States Supreme Court, 171-172 video and film, 283, 309, 334, 338

Tsai, Ming-liang, 338 Universal Pictures, 33, 91, 112, 120, 173, 221, Vidor, Charles, 123 |

Tunisia, 333, 334 275, 377 Vidor, King, 48, 178

Turkey, 347-348 Universum Film Aktiengesellschaft. See UFA La Vie de Polichinelle (The Legend of

Turkish Dance, Ella Lola, 8 | Unsuccessful Somersault, 8 Polichinelle), 20 Turner, Kathleen, 362 The Untouchables, 74 La Vie du Christ, 14-15, 15

Turner, Ted, 378 The Unvanquished, 210 La Vie est a nous (People of France), 138 The Turning Wind, 292 Gli Uomini che mascalzoni! (What Scoundrels Vie privée (A Very Private Affair), 252

Turpin, Ben, 35 Men Are!), 159 De Vierde Man (The Fourth Man), 322 Tuttle, Frank, 181, 365 USSR. See Soviet Union Une Vie sans joie (Catherine), 64 Twentieth Century, 99 Ustinov, Peter, 108 Vietnam War, 363 Twentieth Century Fox, 92, 104, 172, 378 Uttoran (The Broken Journey), 330 viewer fatigue, 382

438

INDEX

vignettes, 244 Wadleigh, Michael, 280 Wells, H. G., 134 .

Vigo, Jean, 62-63, 145-146 The Wages of Fear, 147 Wenders, Wim, 302, 306, 309

Village of the Damned, 359 Wajda, Andrzej, 235-236, 324 Wend Kuuni (God’s Gift), 333

Vincent, 374 Wakamatsu, K6ji, 290 Went the Day Well?, 153 Vincente One Passo (Lasso Thrower), 10 Walbrook, Anton, 153 Wenzler, Franz, 154

Vinterberg, Thomas, 348-350 Wald, Malvin, 194 Werker, Alfred L., 44

Vinyl, 285, 285 Walken, Christopher, 373 Werner, Oskar, 241, 242 Violated Angels, 290 Walker, Fred, 185 Wertmiiller, Lina, 314-315

violence, 208, 264, 278, 298, 315, 340-341, Walker, Hal, 201 West, Mae, 91, 130, 130, 131, 132 372, 373, 374, 376 Walking Down Broadway, 44 westerns, 17, 18, 38, 97, 98, 101, 104, 167,

Violent Cop, 341 Walkower ( Walkover), 295 173, 187, 191, 192, 193, 194, 197,

The Virgin Spring, 207, 208 The Wall, 348 263, 287, 288, 289, 360, 371 Viridiana, 209 Walls, 295 Western Union, 104

Visages de femmes (Faces of Women), 333 Wall Street, 363 West Indies ou Les négres marrons de la liberté Visconti, Luchino, 140, 160, 168, 216-217, Walsh, Raoul, 44, 97, 119-120 ( West Indies), 333

262-263 Walt Disney Productions, 379, 383 West Side Story, 275 |

Les Visiteurs du soir (The Devil’s Envoys), 148, Walters, Charles, 196 Westworld, 382

215 Wang, Bin, 165 Wexler, Haskell, 280

Viskningar och rop (Cries and Whispers), The War and Momit’s Dream, 67 Whale, James, 91 |

256-257 war films, 119, 134—135, 153, 155, 161, 162, What Do Men Want?, 27 :

visual-effects supervisors, 383 254, 322, 325, 334, 356. See also anti- What Happened to Mary?, 38 | visual style, 86, 112, 118, 187, 198, 225, 270, war films What Scoundrels Men Are!, 159 283, 295, 338, 354, 363, 369, 375 The War Game, 267 What’s New, Pussycat?, 360 visual tricks, 69, 143, 145, 218, 267, 376 Wargame, 257 : What’s Up, Tiger Lily?, 360 La Vita é bella (Life Is Beautiful), 316 Warhol, Andy, 285 What Women Want, 368

Vitagraph, 29 . The War Is Over, 249 wheelchair dollies, 242—243 | Vitaphone, 50-51, 90 Warner, Jack, Sam, Albert, and Harry, 34, When Father Was Away on Business, 325

Vitascope, 6, 8 179, 185 When Worlds Collide, 198, 199 I Vitelloni (The Young and the Passionate), Warner Bros., 34, 49, 50, 51, 87, 89-90, 91, Where Are My Children?, 27 212, 357 93, 105, 128, 129, 172, 173, 185, 189, Where Is the Friend’s Home?, 346

Vitti, Monica, 215 | 277, 378 Where the Sidewalk Ends, 197 Vive amour, 338 | Warnung vor einer heiligen Nutte (Beware ofa Where the Truth Lies, 329 Vivement dimanche! (Confidentially Yours), Holy Whore), 304 While the City Sleeps, 197

242 War Requiem, 317 The Whip Hand, 182 |

Vivendi Universal, 377 Warrick, Ruth, 109 Whirlpool, 197

Vivre sa vie: Film en douze tableaux (My Life Washington, Denzel, 331, 332, 370, 370 Whirlpool of Fate, 64

to Live), 244 Wasserman, Lew, 173 White, 324

Vixen!, 281 Water, 330-331 The White-Haired Girl, 165

Vogt, Hans, 89 Waters, John, 361—362 White Heat [1934], 27 voiceovers, 247 Watkins, Peter, 267 White Heat [1949], 120, 120

Voight, Jon, 278 Watt, Harry, 152 White Nights, 216

Voisins (Neighbours), 236 Wavelength, 286, 286 White Shadows in the South Seas, 43

La Voix humaine (The Human Voice), 170 Waxman, Franz, 153 The White Sheik, 212

Volga- Volga, 163 The Way, 348 Whitney, James, 284

Volonté, Gian Maria, 261 Wayne, John, 97, 97, 98, 99, 101, 178, 192, The Who, 316

Volver (Return), 321 378 | Who Knows?, 253

von Baky, Josef, 154 Ways of Love, 169-170 Whore, 316

von Borsody, Eduard, 155 The Way We Live, 224 Who’s Afraid of Virginia Woolf?, 277 von Harbou, Thea, 81, 83, 154 Weber, Lois, 27, 27-28 Why We Fight series, 113

von Sternberg, Josef, 48, 75, 115-116 The Wedding March, 44 Wicki, Bernhard, 233 : von Stroheim, Erich, 43—44, 44,134 Weekend, 247, 247 wide-angle shots, 56, 74, 156, 264, 268, 298 von Sydow, Max, 206, 207, 207, 208, 256, 334 Wee Willie Winkie, 97 Widerberg, Bo, 257

von Trier, Lars, 348350 Wegener, Paul, 79, 79-80 wide-screen formats, 68, 184-187. See also von Trotta, Margarethe, 306-307 The Weight of Water, 367 CinemaScope; Cinerama process;

Vor ( The Thief), 323 Weihnachtsglocken (Christmas Bells), 79 Franscope | 12, 12-13 Weissmuller, Johnny, 114, 115 Wiene, Robert, 80, 81

Le Voyage dans la lune (A Trip to the Moon), Weir, Peter, 326-327 Wieland, Joyce, 286 , Voyage to the Beginning of the World, 321 Weitz, Chris and Paul, 319 Wilcox, Frank, 174

Vredens dag (Day of Wrath), 64 We Joined the Navy, 224 Wild and Woolfy, 129

Vyndlez zkdzy (The Fabulous World of Jules Weld, Tuesday, 264 The Wild Angels, 190, 281

Verne), 234, 234 Welfare, 280, 281 Wild at Heart, 374 Welles, Orson, 108-112, 110, 180, 187, 188, The Wildcats of St. Trinian’s, 219 — Wabbit Twouble, 128 217, 217, 289, 360 The Wild Child, 242

439 4

Wachowski, Andy and Larry, 144, 380 Wellman, William A., 117 Wilde, Ted, 37

INDEX

Wilder, Billy, 85, 134, 153, 167, 176, 177, Woodstock, 280 The Young One, 291

200-201 The Word, 64 Young Torless, 306

A Wild Hare, 128 Work, 333 You Only Live Once, 104 The Wild One, 190, 190 | Workers Leaving the Lumiére Factory, 7 You're on My Mind, 313

The Wild Party, 123 Working Girls, 123 Youth, 154

Wild Strawberries, 70, 207, 361 world cinema, 301 youth films, 281

Williams, Cindy, 357 The World of Apu, 210 Youth in Revolt, 57

Williams, Grant, 197, 198 World’s Fair [1939], 185 Y tu mamd también (And Your Mother Too),

Williams, Kenneth, 220 World Trade Center, 364, 376 344

Williams, Spencer, 47 World War I, 32, 53, 67, 79 Yu, Sun, 164

Williamson, James, 20 World War II, 76, 86, 98, 113, 121, 134, 146, Yuan, Mu-jih, 164

Willis, Bruce, 366 152-160, 175, 193, 233, 290, 295, Yugoslavia, 297, 325

Wilms, André, 335, 335 297, 300, 325, 355, 356 Yuke yuke nidome no shojo (Go, Go Second

Wilson, Dooley, 135, 135 Worsley, Wallace, 39 Time Virgin), 290 Winchester ’73, 173 Wrestling Match, 8 Yutkevich, Sergei, 163 The Wind [1928], 70 Wright, Basil, 152 The Wind [1982], 333 Wright, Will, 175 Zabriskie Point, 282 — Windsor, Claire, 28 writers, 15, 27, 41, 83, 100, 109, 134, 140, 144, Zan Boko, 333

Wings of Desire, 309 147, 153, 155, 175, 179, 180, 181, Zane, Billy, 319 . Winslet, Kate, 328 194, 212, 217, 222-223, 224, 246, Zanuck, Darryl F, 33, 184 : Winter Light, 255, 258 248, 251, 268, 294, 306, 310, 318, Zanussi, Krzysztof, 324 :

wipes, 267 324—325, 360, 367, 376 Zastrzezynski, Waclaw, 235

Wisbar, Frank, 153 Written on the Wind, 191 Zavattini, Cesare, 217

Wise, Robert, 111, 198, 275, 364 W.R.—Misterije organizma (W.R.: Mysteries Zazie dans le métro (Zazie in the Subway),

Wiseman, Frederick, 280 of the Organism), 297, 298 251-252

The Witches of Eastwick, 326 Wu, Jiaxiang, 336 Zdravstvuy, Moskva! (Hello Moscow!), 163 . Within Our Gates, 25, 46 Wunschkonzert (Request Concert), 155 Zecca, Ferdinand, 15

Without Anesthesia, 324 Wuthering Heights, 122 Zeffirelli, Franco, 315

Witney, William, 118-119 Wyler, William, 113, 121-122, 275 Zelig, 361

Wittgenstein, 317 Wynn, Keenan, 270 Zeman, Karel, 234 . The Wizard of Oz, 96 Wysbar, Franz {a k a Frank Wisbar], 153 Zemeckis, Robert, 383

Wolf, Konrad, 297 Zemlya (Earth), 77 Wolfman Jack, 357 X (“Adults Only”) label, 221, 278 Zendegi va digar hich (Life, and Nothing A Woman Alone, 325 Xala (The Curse), 300 More), 346

Woman in the Moon, 83 Zerkalo (The Mirror), 323

The Woman in the Window, 104 Yaaba (Grandmother), 333 Zéro de conduite: Jeunes diables au collége

A Woman Is a Woman, 244 yakuza, 290, 340 (Zero for Conduct), 63, 145, 145 A Woman of Affairs, 49 : Yam Daabo ( The Choice), 333 Zero for Conduct, 63, 145, 145

A Woman of No Importance, 154 Yang, Edward, 337 Zetterling, Mai, 257 The Woman on Pier 13, 182 Yanne, Jean, 247, 250 Zhang Yimou, 338, 339

The Woman on the Beach, 141 Yascot el istemar (Down with Imperialism), | Zhizn i smert A. S. Pushkina (The Life and

The Woman They Almost Lynched, 119 237 Death of Pushkin), 70

Woman to Woman, 68 Yates, Herbert J., 34 Zhizn prekrasna (Life Is Wonderful), 322 A Woman Under the Influence, 365 The Year of Living Dangerously, 326 Zinnemann, Fred, 85, 180, 192-193 women filmmakers, 122~123, 222-225, 257, Yeelen ( Brightness), 333 Zire darakhatan zeyton (Through the Olive

325-326, 345-346, 366—368 Yellow Earth, 338 Trees), 346

women, images of, 38, 175-177, 195, 258, Yesterday Girl, 306 O zlaté rybce (The Golden Fish), 235

330, 346 Les Yeux sans visage (Eyes Without a Face), Zodiac, 381 Women in Love, 316 233 Zoetrope, 2, 2

Women on the Verge of a Nervous Breakdown, Ying hung boon sik (A Better Tomorrow), 336 Zoetrope Studios, 309

321 Ying xiong wei lei (Heroes Shed No Tears,aka La Zone de la mort (The Zone of Death), 54

women’s pictures, 124126 The Sunset Warrior), 336 The Zone of Death, 54 women’s rights, 307 Yoidore tenshi (Drunken Angel), 203 zoom shots, 241, 298 The Wonderful World of the Brothers Grimm, Yojimbo, 263 Zo6praxiscope, 4

187 Yokihi (Princess Yang Kwei-fei), 206 Zukor, Adolph, 31, 34 Wong, Jing, 336 Yol (The Way), 348 Zu: Warriors from the Magic Mountain, 337 Woo, John, 254, 336-337 Yoshimura, Kozaburo, 161 Zweimal gelebt ( Two Lives), 78

Wood, Edward D., Jr., 374 You Can’t Take It with You, 112 Das Zweite Erwachen der Christa Klages (The

Wood, Natalie, 189 Young, Terence, 266 Second Awakening of Christa Klages), Wood, Sam, 133 The Young and the Damned, 166, 166, 208 . 307

Woods, James, 264, 363 The Young and the Passionate, 212, 357 Zwerin, Charlotte, 280

, 440

Wheeler Winston Dixon is the James Ryan Endowed Professor of Film Studies, Professor of English at the University of Nebraska, Lincoln, and, with Gwendolyn Audrey Foster, editor-in-chief of the Quarterly Review of Film

and Video, an interdisciplinary and internationally recognized academic journal of visual studies, film studies, and cultural studies. His many books as author or editor include Film Talk: Directors at Work (2007); Visions of Paradise: Images of Eden in the Cinema (2006); American Cinema of the 1940s: Themes and Variations (2005); Lost in the Fifties: Recovering Phantom Hollywood (2005); Film and Television After 9/11 (2004); Visions of the Apocalypse: Spectacles of Destruction in American Cinema (2003); Straight: Con-

structions of Heterosexuality in the Cinema (2003); and Experimental Cinema: The Film Reader (2002), co-edited with Gwendolyn Audrey Foster. On 11-12 April 2003, he was honored with a retrospective of his films at the Museum of Modern Art in New York, and his films were acquired for the permanent collection of the museum, in both print and original format.

Gwendolyn Audrey Foster holds the rank of Professor in the Department of English and is coordinator of the Film Studies Program at University of Nebraska, Lincoln, specializing in film studies, cultural studies, feminism, race, and class. Her books include Class-Passing: Social Mobility in Film and Popular Culture (2005); Identity and Memory: The Films of Chantal Akerman

(2003); Experimental Cinema: The Film Reader (2002; co-edited with Wheeler Winston Dixon); and Captive Bodies: Postcolonial Subjectivity in Cinema (1999). Another of her books, Performing Whiteness: Postmodern Re/Constructions in the Cinema (2003), was cited by the journal Choice as “Essential . .. one of the outstanding academic books of the year” in 2004. Since 1999 Foster has been, with Wheeler Winston Dixon, editor-in-chief of Quarterly Review of Film and Video.

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