Nightmare Alley - Film Noir And The American Dream

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Nightmare Alley - Film Noir And The American Dream Page 42

by Mark Osteen

Shockproof. Dir. Douglas Sirk. Columbia, 1949.

  Somewhere in the Night. Dir. Joseph L. Mankiewicz. 20th Century–Fox, 1946.

  Spellbound. Dir. Alfred Hitchcock. Perf. Ingrid Bergman and Gregory Peck. Selznick, 1945.

  The Strange Affair of Uncle Harry. Dir. Robert Siodmak. Prod. Joan Harrison. Universal, 1945.

  Strange Illusion. Dir. Edgar G. Ulmer. PRC, 1945.

  The Strange Love of Martha Ivers. Dir. Lewis Milestone. Scr. Robert Rossen.* Paramount, 1946.

  Street of Chance. Dir. Jack Hively. Paramount, 1942.

  The Strip. Dir. Leslie Kardos. Perf. Mickey Rooney. MGM, 1951.

  Sweet Smell of Success. Dir. Alexander Mackendrick. Perf. Burt Lancaster, Tony Curtis, and Martin Milner. United Artists, 1957.

  They Live by Night. Dir. Nicholas Ray. Perf. Cathy O’Donnell, Farley Granger, and Howard Da Silva.* RKO, 1948.

  Thieves’ Highway. Dir. Jules Dassin.* Scr. A. I. Bezzerides. 20th Century–Fox, 1949.

  Touch of Evil. Dir. Orson Welles. Universal-International, 1958.

  Try and Get Me! Dir. Cyril Endfield.* Scr. Jo Pagano. Robert Stillman Productions/United Artists, 1950.

  The Two Mrs. Carrolls. Dir. Peter Godfrey. Warner Bros., 1947.

  The Underworld Story. Dir. Cyril Endfield.* Perf. Dan Duryea. Scr. Craig Rice, Cyril Endfield and Henry Blankfort.* Filmcraft/United Artists, 1950.

  Vicki. Dir. Harry Horner. Perf. Jean Peters, Jeanne Crain, Elliott Reid, and Richard Boone. 20th Century–Fox, 1953.

  Walk a Crooked Mile. Dir. Gordon Douglas. Columbia, 1948.

  White Heat. Dir. Raoul Walsh. Perf. James Cagney and Edmond O’Brien. Warner Bros., 1949.

  The Woman in the Window. Dir. Fritz Lang. Perf. Edward G. Robinson, Joan Bennett, and Dan Duryea. International Pictures, 1944.

  You Only Live Once. Dir. Fritz Lang. Perf. Henry Fonda and Sylvia Sidney. United Artists, 1937.

  WORKS CITED

  The abbreviation MHLSC indicates Margaret Herrick Library Special Collections, Los Angeles.

  Abbott, Megan E. The Street Was Mine: White Masculinity in Hard-Boiled Fiction and Film Noir. New York: Palgrave Macmillan, 2002. Print.

  “Abraham Polonsky.” Interview by Paul Buhle and Dave Wagner. McGilligan and Buhle 481–94.

  The Accused script notes. Hal Wallis Papers. MHLSC.

  Act of Violence posters. Fred Zinnemann Papers. MHLSC.

  “Adele Comandini.” Internet Movie Database. Web. Dec. 20, 2011.

  Allcountries.org. U.S. Census 2000. “11. National Defense and Veterans Affairs.” Sec. 593, “Disabled Veterans Receiving Compensation.” Web. Dec. 26, 2011.

  Als, Hilton. “This Woman’s Work.” New Yorker March 28, 2011: 108–11. Print.

  Andersen, Thom. “Afterword.” Krutnik, Neale, Neve, and Stanfield 264–75.

  ———. “Red Hollywood.” Krutnik, Neale, Neve, and Stanfield 225–63.

  Anderson, Edward. Thieves Like Us. 1937. Polito 214–377.

  Arnau, Frank. Three Thousand Years of Deception in Art and Antiques. Trans. J. Maxwell Brownjohn. London: Cape, 1961. Print.

  Arnheim, Rudolf. “On Duplication.” Dutton, The Forger’s Art 232–45.

  “Art of Europe.” Web. May 14, 2012. www.artofeurope.com/dali/dal26.htm.

  Babener, Liahna. “De-feminizing Laura: Novel to Film.” It’s a Print! Detective Fiction from Page to Screen. Ed. William Reynolds and Elizabeth A. Trembley. Bowling Green, OH: Bowling Green St. U Popular P, 1994. 83–102. Print.

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  Bassler, Robert. Letter to Jason S. Joy. Feb. 24, 1949. TS. PCA file, Thieves’ Highway. MHLSC.

  Belton, John. American Cinema/American Culture. New York: McGraw-Hill, 1994. Print.

  Benson, Sally. With This Ring [I Married a Dead Man]. Jan. 24, 1949. TS. No Man of Her Own script files. MHLSC.

  ———. With This Ring [I Married a Dead Man]. Feb. 25, 1949. TS. No Man of Her Own script files. MHLSC.

  Bernstein, Matthew. “A Tale of Three Cities: The Banning of Scarlet Street.” Cinema Journal 35.1 (1995): 27–52. Print.

  Beverly, William. On the Lam: Narratives of Flight in J. Edgar Hoover’s America. Jackson: UP of Mississippi, 2004. Print.

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  Bogdanovich, Peter. Who the Devil Made It. New York: Knopf, 1997. Print.

  Borde, Raymond, and Etienne Chaumeton. “Towards a Definition of Film Noir.” Silver and Ursini, Film Noir Reader 17–25.

  Brandell, Jerrold R., ed. Celluloid Couches, Cinematic Clients: Psychoanalysis and Psychotherapy in the Movies. Albany: SUNY P, 2004. Print.

  ———. “Eighty Years of Dream Sequences: A Cinematic Journey Down Freud’s ‘Royal Road.’” American Imago 61.1 (2004): 59–76. Print.

  ———. “Introduction.” Brandell, Celluloid Couches 1–18.

  Breen, Joseph. Letter to Forrest Judd. July 27, 1949. TS. PCA file, The Underworld Story. MHLSC.

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  ———. Letter to Jack Warner. June 10, 1949. TS. PCA file, Caged. MHLSC.

  ———. Letter to Jack Warner. July 22, 1949. TS. PCA file, Caged. MHLSC.

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  ———. Letter to Luigi Luraschi. May 26, 1949. TS. PCA file, No Man of Her Own. MHLSC.

  ———. Letter to Robert Stillman. May 3, 1950. TS. PCA File, Try and Get Me! MHLSC.

  ———. Letter to Sam Spiegel. Nov. 2, 1949. TS. PCA File, The Prowler. MHLSC.

  Brill, Lesley. The Hitchcock Romance: Love and Irony in Hitchcock’s Films. Princeton, NJ: Princeton UP, 1988. Print.

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  Brook, Vincent. Driven to Darkness: German Émigré Directors and the Rise of Film Noir. New Brunswick, NJ: Rutgers UP, 2009. Print.

  Brooks, Richard. The Brick Foxhole. New York: Harper, 1945. Print.

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  ———. A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left. Berkeley: U of California P, 2001. Print.

  Butler, David. Jazz Noir: Listening to Music from “Phantom Lady” to “The Last Seduction.” Westport, CT: Praeger, 2002. Print.

  Cain, James M. Double Indemnity. 1936. New York: Vintage, 1992. Print.

  ———. Mildred Pierce. 1941. New York: Vintage, 1989. Print.

  ———. The Postman Always Rings Twice. 1934. Polito 1–95.

  Cameron, Ian, ed. The Book of Film Noir. New York: Continuum, 1993. Print.

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  Cantor, Paul A. “Film Noir and the Frankfurt School: America as Wasteland in Edgar Ulmer’s Detour.” Conard 139–61.

&
nbsp; Caruth, Cathy. “Introduction to Psychoanalysis, Trauma and Culture I.” American Imago 48.1 (1991): 1–12. Print.

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  ———. The Secrets of Grown-Ups. New York: McGraw-Hill, 1979. Print.

  “Catherine Turney.” Internet Movie Database. Web. Dec. 21, 2011.

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  Chopra-Gant, Mike. Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. New York: I. B. Tauris, 2006. Print.

  Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Free P, 1997. Print.

  Ciment, Michel, ed. Conversations with Losey. London: Methuen, 1985. Print.

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  Copjec, Joan, ed. Shades of Noir. London: Verso, 1993. Print.

  Cowie, Elizabeth. “Film Noir and Women.” Copjec 121–65.

  Crowther, Bosley. Review of The Underworld Story. New York Times Sept. 27, 1950. PCA file, The Underworld Story. MHLSC.

  ———. Review of Thieves’ Highway. New York Times Sept. 24, 1949. PCA file, Thieves’ Highway. MHLSC.

  Cullen, Jim. The American Dream: A Short History of an Idea That Shaped a Nation. New York: Oxford UP, 2003. Print.

  Curran, Dale. Piano in the Band. New York: Reynal and Hitchcock, 1940. Print.

  “The Damned Don’t Cry.” PCA file, MHLSC.

  Davidson, Michael. “Phantom Limbs: Film Noir and the Disabled Body.” GLQ 9.1–2 (2003): 57–77. Print.

  de Bolla, Peter. “The Stain of the Signature.” Fiction and Economy. Ed. Susan Bruce and Valeria Wagner. Houndmills: Palgrave MacMillan, 2007. 63–81. Print.

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  ———. “Movies and Postwar Recovery.” Dixon 162–81.

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  ———. “Resistance through Charisma: Rita Hayworth and Gilda.” Kaplan, Women in Film Noir 115–22.

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  ———. The File on Thelma Jordon. Nov. 18, 1948. TS. The File on Thelma Jordon script files. MHLSC.

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  ———. Strange Deception. Feb. 18, 1948. TS. The Accused script files. MHLSC.

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