Friday, December 30, 2011

Swan's Japanese Horror Reviews #23: Horrors of Malformed Men

ENG 282: 1920s

1920

The Cabinet of Dr. Caligari (Germany: Robert Wiene. 1920: 67 mins)

Brockmann, Stephen. "Der Cabinet des Dr. Caligari (1920) or Film as Hypnosis." A Critical History of German Film Rochester, NY: Camden House, 2010: 60-69. [Professor has copy of the book]

LoBrutto, Vincent. "Expressionism in Cinema: The Cabinet of Dr. Caligari." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 60-66. [BCTC Library: PN1994 L595 2005]

1921

The Phantom Carriage (Sweden: Victor Sjöström, 1921: 93 mins)

Battaglia, Andy. "The Metal Beast: A most unorthodox Victor Sjöström remix." Film Comment (May/June 2012)

O'Donaghue, Darragh. "The Phantom Carriage." Senses of Cinema #56 (2010)

1922

Häxan: Witchcraft Through the Ages (Denmark/Sweden: Benjamin Christensen, 1922: 87 mins)

Anderson, Gillian. "Häxan: About the Music." Current (October 15, 2001)

Fujiwara, Chris. "Häxan." Current (October 15, 2001)

Wilkins, Budd. "Birthing Bad: Lars Von Trier’s Antichrist Through the Lens of “Nordic Horror." Acidemic #7 (2012)

Nanook of the North (USA/France: Robert J. Flaherty, 1922: 79 mins)

Duncan, Dean W. "Nanook of the North Current (January 11, 1999)

LoBrutto, Vincent. "Roots of the Documentary Film: Nanook of the North." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 203-209. [BCTC Library: PN1994 L595 2005]

Nosferatu (Germany: F.W. Murnau, 1922: 81 mins)

Ryan, Bill. "As if the Stars Would Wink Out One by One to Hear it Spoken, or The Five Nosferatus." The Kind of Face You Hate (October 30, 2014)

1923

Where the North Begins (USA: Chester M. Franklin, 1923: 60 mins)

Daseler, Graham. "The Fall of the House of Warner: The Warner Brothers." Bright Lights Film Journal #82 (November 2013)

1924

The Last Laugh (Germany: F.W. Murnau, 1924: 90 mins)

Brockmann, Stephen. "Der letzte Mann (1924) or Learning to Move." A Critical History of German Film Rochester, NY: Camden House, 2010: 71-79. [Professor has copy of the book]

1925

Battleship Potemkin (Soviet Union: Sergei M. Eisenstein, 1925: 66 mins)

LoBrutto, Vincent. "Editing--Russian Montage: Battleship Potemkin." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 26-32. [BCTC Library: PN1994 L595 2005]

The Freshman (USA: Fred Newmeyer and Sam taylor, 1925: 76 mins)

Bochenek, Annette. "The Criterion Blogathon: The Freshman (1925)." Hometowns to Hollywood (November 16, 2015)

The Unholy Three (USA: Tod Browning, 1925: 86 mins) 


Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)


1926

The Adventures of Prince Achmed (Germany: Lotte Reiniger and Carl Koch, 1926: 81 mins)

Stratton, Catherine. "We Owe a Lot to Lotte Reiniger: Her enduringly beautiful early animation was at once traditional and trailblazing." Keyframe (March 16, 2017)

The General (USA: Clyde Bruckman and Buster Keaton, 1926: 107 mins)

LoBrutto, Vincent. "Period Comedy: The General." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 158-163. [BCTC Library: PN1994 L595 2005]

1927

The Jazz Singer (USA: Alan Crosland, 1927: 88 mins)
Daseler, Graham. "The Fall of the House of Warner: The Warner Brothers." Bright Lights Film Journal #82 (November 2013)

London After Midnight (USA: Tod Browning, 1927: 69 mins)

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)

Napolean (France: Abel Gance, 1927: 240 mins)

Brownlow, Kevin and Carl Davis. "How We Made -- Napolean." The Guardian (November 29, 2013)

Cuff, Paul. "Experiential Art: Musical performance, live cinema, and Abel Gance’s Napoléon." Alternate Takes (February 13, 2014)

Sunrise (USA: F.W. Murnau, 1927: 94 mins)

"#12: Sunrise." Arts and Faith Top 100 Films (2011)

The Unknown (USA: Tod Browning, 1927: 63 mins)

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)


1928

The Crowd (USA: King Vidor, 1928: 98 mins)

LoBrutto, Vincent. "Shot Structure: The Crowd." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 92-97. [BCTC Library: PN1994 L595 2005]

Our Dancing Daughters (USA: Harry Beaumont, 1928: 85 mins)

Longworth, Karina. "Six Degrees of Joan Crawford: The Flapper and Douglas Fairbanks Jr." You Must Remember This (August 15, 2016) ["Joan Crawford’s early years in Hollywood were like -- well, like a pre-code Joan Crawford movie: a highly ambitious beauty of low birth does what she has to do (whatever she has to do) to transform herself into a well-respected glamour gal at the top of the food chain. Her romance with Douglas Fairbanks Jr -- the scion of the actor/producer who had been considered the King of Hollywood since the early days of the feature film -- began almost simultaneous to Crawford’s breakout hit, Our Dancing Daughters. But the gum-snapping dame with the bad reputation would soon rise far above her well-born husband, cranking out a string of indelible performances in pre-code talkies before hitting an early career peak in the Best Picture-winning Grand Hotel."]

The Passion of Joan of Arc (France: Carl Theodor Dreyer, 1928: 110 mins)

Danish Film Institute. "The Passion of Joan of Arc." Carl Th Dreyer: The Man and His Work (2011)

Greydanus, Steven. #1: The Passion of Joan of Arc." Arts & Faith Top 100 Films (2011)

LoBrutto, Vincent. "The Close Up: The Passion of Joan of Arc." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 222-228. [BCTC Library: PN1994 L595 2005]

West of Zanzibar (USA: Tod Browning, 1928: 65 mins)

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)


1929


Love Parade (USA: Ernst Lubitsch, 1929: 107 mins)

Char, Jessie and Arik Devens. "Love Parade." Cinema Gadfly #5 (ND)

Man with a Movie Camera (Soviet Union: Dziga Vertov, 1929: 68 mins)

LoBrutto, Vincent. "Self-Referential Cinema: The Man with a Movie Camera." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 190 -195. [BCTC Library: PN1994 L595 2005]

Pandora's Box (Germany: Georg Wilhelm Pabst, 1929: 133 mins)

Hoberman, J. "Opening Pandora's Box." Current (November 27, 2006)

Un Chien Andalou (France: Luis Buñuel, 1929: 16 mins)

Barker, Jennifer Lynne. The Aesthetics of Antifascist Film: Radical Projection. Routledge, 2013. [Get through interlibrary loan]

LoBrutto, Vincent. "Surrealism in Cinema: Un Chien Andalou." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 77-83. [BCTC Library: PN1994 L595 2005]

ENG 282: 1930s

1930

All Quiet on the Western Front (USA: Lewis Milestone, 1930: 136 mins)

Norris, Margaret. Writing War in the Twentieth Century. Charlottesville, VA: University of Virginia, 2000. [Available in BCTC Library: PN56 W3 N67 2000]

The Blood of a Poet (France: Jean Cocteau, 1930: 55 mins)

Cocteau, Jean. "Preface to Blood of a Poet (1946) Current (April 24, 2000)

The Blue Angel (Germany: Josef von Sternberg, 1930: 124 mins)

Brockmann, Stephen. "Der blaue Engel (1930) and Learning to Talk." A Critical History of German Film Rochester, NY: Camden House, 2010: 97-111. [Professor has copy of the book]

1931


Dracula (USA: Tod Browning, 1931: 85 mins)

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Frankenstein (USA: James Whale, 1931: 70 mins)

Bradley, S.A. "Nowhere Man: The Outsider in Horror." Hell Bent for Horror #30 (January 21, 2017)
["The Us vs. Them mentality is a backdrop for some really good horror stories. Frankenstein being a great example. The Monster is the outsider, but yet you sympathize with him. In these conflicts, horror is uniquely suited to tell some great stories, and give different results. What makes THEM…them? How easily can WE become THEM? “Civilized” society is a tough path to tread. In this episode I talk about Horror and the outsider. I bring up Frankenstein and then go from short stories to little known movies to popular movies of the last decade."]

M (Germany: Fritz Lang, 1931: 99 mins)

Brockmann, Stephen. "M (1931) or Sound and Terror." A Critical History of German Film Rochester, NY: Camden House, 2010: 112-127. [Professor has copy of the book]

"M." Masters of Cinema (May 6, 2013)

Tokyo Chorus (Japan: Yasujirô Ozu, 1931: 90 mins)

Blakeslee, David and Robert Nishimura. "Silent Ozu." The Eclipse Viewer #1 (August 7, 2012)


1932


Bird of Paradise (USA: King Vidor, 1932: 80 mins)

Kuersten, Erich. "CinemArchetype #5: The Human Sacrifice." Acidemic (February 28, 2012)

Boudu Saved From Drowning (France: Jean Renoir, 1932: 85 mins)

Brody, Richard. "DVD of the Week: Boudu Saved From Drowning Current (Decenber 8, 2010)

Faulkner, Christopher. "Boudu Saved from Drowning: Tramping in the City." Current (August 22, 2005)

Broken Lullaby (USA: Ernst Lubitsch, 1932: 76 mins)

Iannone, Pasquale. "Broken Lullaby." Senses of Cinema #56 (2010)

Freaks (USA: tod Browning, 1932: 64 mins)

Bradley, S.A. and James Hancock. "A Good Cast is Worth Repeating, Part II: Tod Browning." Hellbent for Horror #31 (January 26, 2017)

Grand Hotel (USA: Edmund Goulding, 1932: 112 mins)

Longworth, Karina. "Six Degrees of Joan Crawford: The Flapper and Douglas Fairbanks Jr." You Must Remember This (August 15, 2016) ["Joan Crawford’s early years in Hollywood were like -- well, like a pre-code Joan Crawford movie: a highly ambitious beauty of low birth does what she has to do (whatever she has to do) to transform herself into a well-respected glamour gal at the top of the food chain. Her romance with Douglas Fairbanks Jr -- the scion of the actor/producer who had been considered the King of Hollywood since the early days of the feature film -- began almost simultaneous to Crawford’s breakout hit, Our Dancing Daughters. But the gum-snapping dame with the bad reputation would soon rise far above her well-born husband, cranking out a string of indelible performances in pre-code talkies before hitting an early career peak in the Best Picture-winning Grand Hotel."]

Ray, Robert B. "Grand Hotel." The ABCs of Classic Hollywood. NY: Oxford UP, 2008: 3-84.

Island of Lost Souls (USA: Erle C. Kenton, 1932: 70 mins) 

Gallagher, Ryan and James McCormick. "Erle Kenton's The Island of Lost Souls." CriterionCast #128 (August 3, 2012) ["A twisted treasure from Hollywood’s pre-Code horror heyday, Island of Lost Souls is a cautionary tale of science run amok, adapted from H. G. Wells’s novel The Island of Dr. Moreau. In one of his first major movie roles, Charles Laughton is a mad doctor conducting ghastly genetic experiments on a remote island in the South Seas, much to the fear and disgust of the shipwrecked man (Richard Arlen) who finds himself trapped there. This touchstone of movie terror, directed by Erle C. Kenton, features expressionistic photography by Karl Struss, groundbreaking makeup effects that have inspired generations of monster-movie artists, and the legendary Bela Lugosi in one of his most gruesome roles."]

"Lost Isles." Grand Old Movies (November 2015)

I Was Born, but ... (Japan: Yasujirô Ozu, 1932: 100 mins)

Blakeslee, David and Robert Nishimura. "Silent Ozu." The Eclipse Viewer #1 (August 7, 2012)

No Blood Relation (Japan: Mikio Naruse, 1932: 94 mins)

Blakeslee, David and Robert Nishimura."Silent Naruse." The Eclipse Viewer #2 (September 3, 2012)

One Hour With You (USA: Ernst Lubitsch, 1932: 80 mins)

Dixon, Wheeler Winston. "One Hour With You." Senses of Cinema #56 (2010)

Vampyr (Germany/France: Carl Theodor Dreyer, 1932: 75 mins)

Gonet, Adam and Joakim Thiesen. "Vampyr." Masters of Cinema Cast #55 (February 22, 2017) ["The first sound-film by one of the greatest of all filmmakers, Vampyr offers a sensual immediacy that few, if any, works of cinema can claim to match. Legendary director Carl Theodor Dreyer leads the viewer, as though guided in a trance, through a realm akin to a waking-dream, a zone positioned somewhere between reality and the supernatural. Traveller Allan Gray (arrestingly depicted by Julian West, aka the secretive real-life Baron Nicolas de Gunzburg) arrives at a countryside inn seemingly beckoned by haunted forces. His growing acquaintance with the family who reside there soon opens up a network of uncanny associations between the dead and the living, of ghostly lore and demonology, which pull Gray ever deeper into an unsettling, and upsetting, mystery. At its core: troubled Gisèle, chaste daughter and sexual incarnation, portrayed by the great, cursed Sybille Schmitz (Diary of a Lost Girl, and inspiration for Fassbinder’s Veronika Voss.) Before the candles of Vampyr exhaust themselves, Allan Gray and the viewer alike come eye-to-eye with Fate — in the face of dear dying Sybille, in the blasphemed bodies of horrific bat-men, in the charged and mortal act of asphyxiation — eye-to-eye, then, with Death — the supreme vampire. Deemed by Alfred Hitchcock ‘the only film worth watching… twice’, Vampyr’s influence has become, by now, incalculable."]

Lee, Kevin B. "How Carl Dreyer Created a Cinematic Uncanny." (Posted on Youtube: May 19, 2013)


1933


42nd Street (USA: Lloyd Bacon, 1933: 89 mins)

LoBrutto, Vincent. "An American Musical: 42nd Street." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 144-150. [BCTC Library: PN1994 L595 2005]

Apart From You (Japan: Mikio Naruse, 1933: 61 mins)

Blakeslee, David and Robert Nishimura."Silent Naruse." The Eclipse Viewer #2 (September 3, 2012)

Baby Face (USA: Alfred E. Green, 1933: 71 mins)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Ecstasy (Czechoslovakia/Austria: Gustav Machatý, 1933: 82 mins)

Hudson, David. "Sex in the Movies." Green Cine (2005)

Every-Night Dreams (Japan: Mikio Naruse, 1933: 65 mins)

Blakeslee, David and Robert Nishimura."Silent Naruse." The Eclipse Viewer #2 (September 3, 2012)

King Kong (USA: Merian C. Cooper and Ernest B. Schoedsack, 1933: 100 mins)

Belzille, Becky and David Hart. "King Kong (1933) and Grandiosity." Pop Culture Case Study (March 9, 2017)

Passing Fancy (Japan: Yasujirô Ozu, 1933: 101 mins)

Blakeslee, David and Robert Nishimura. "Silent Ozu." The Eclipse Viewer #1 (August 7, 2012)

The Private Life of Henry VIII (UK: Alexander Korda, 1933: 97 mins)


Berrett, Trevor and David Blakeslee. "Alexander Korda's Private Lives." The Eclipse Viewer #43 (June 5, 2016)

The Testament of Dr. Mabuse (Germany: Fritz Lang, 1933: 122 mins)

Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)

1934

The Black Cat (USA: Edgar G. Ulmer, 1934: 65 mins)

Saunders, D.J.M. "Hope and History: Beyond Violence." Bright Lights Film Journal #82 (November 2013)

Imitation of Life (USA: John M. Stahl, 1934: 111 mins)

Courtney, Susan. "Picturizing Race Hollywood's Censorship of Miscegenation and Production of Racial Visibility through Imitation of Life." Genders #27 (1998)

L'Atalante (France: Jean Vigo, 1934: 89 mins)

Dawson, Mike. "World Cinema Masterpiece: L'Atalante Left Field Cinema (March 2, 2009)

Fuller, Graham. "Jean Vigo: Artist of the floating world." Sight and Sound (February 2012)

The Private Life of Don Juan (UK: Alexander Korda, 1934: 89 mins)

Berrett, Trevor and David Blakeslee. "Alexander Korda's Private Lives." The Eclipse Viewer #43 (June 5, 2016)

The Rise of Catherine the Great (UK: Paul Czinner and Alexander Korda, 1934: 95 mins)

Berrett, Trevor and David Blakeslee. "Alexander Korda's Private Lives." The Eclipse Viewer #43 (June 5, 2016)

Street Without End (Japan: Mikio Naruse, 1934: 87 mins)

Blakeslee, David and Robert Nishimura."Silent Naruse." The Eclipse Viewer #2 (September 3, 2012)


1935

The 39 Steps (United Kingdom: Alfred Hitchcock, 1935: 89 mins)

Keane, Marian. "The 39 Steps." Current (November 23, 1999)

Wilmington, Michael. "The 39 Steps." Current (December 9, 1985)

1936

Flash Gordon (USA: Frederick Stephani and Ray Taylor, 1936: 245 mins)

Kuersten, Erich. "The Primal Father (CinemArchetypes #8)." Acidemic (March 19, 2012)

Fury (USA: Fritz Lang, 1936: 92 mins)

Barker, Jennifer Lynne. The Aesthetics of Antifascist Film: Radical Projection. Routledge, 2013. [Get through interlibrary loan]

Modern Times (USA: Charles Chaplin, 1936: 87 mins)

Falzon, Christopher. "Philosophy Through Film." Internet Encyclopedia of Philosophy (August 12, 2013)

Rembrandt (UK: Alexander Korda, 1936: 85 mins)

Berrett, Trevor and David Blakeslee. "Alexander Korda's Private Lives." The Eclipse Viewer #43 (June 5, 2016)

Sabotage (UK: Alfred Hitchcock, 1936: 76 mins)

Barker, Jennifer Lynne. The Aesthetics of Antifascist Film: Radical Projection. Routledge, 2013. [Get through interlibrary loan]

1937

The Dybbuk (Poland: Michal Waszynski, 1937: 108 mins)

Bird, Daniel, Yossi Chajes and John Walker. "The Dybbuk." The Projection Booth #269 (May 3, 2016) ["Based on Sholom Ansky's 1904 play, Michal Waszynski's 1937 Yiddish-language Polish film, The Dybbuk, tells the story of a broken promise and its consequences."]

Elephant Boy (UK: Robert Flaherty and Zoltan Korda, 1937: 80 mins)

Harvey, Dennis. "Sabu’s Enduring Star Power." Keyframe (January 5, 2014)

Grand Illusion (France: Jean Renoir, 1937: 114 mins)

Cowie, Peter. "Grand Illusion Current (November 22, 1999)

Jennings, Tom, et al. "La Grande Illusion (1937)." The Projection Booth #318 (April 16, 2017)

Make Way for Tomorrow (USA: Leo McCarey, 1937: 91 mins)

Overstreet, Jeffrey. "#6: Make Way For Tomorrow." Arts and Faith Top 100 Films (2011)

Snow White and the Seven Dwarfs (USA: William Cottrell, et al., 1937: 83 mins)

Rapold, Nicholas. "Short and Sweet: Snow White and the Seven Dwarfs." Reverse Shot #29 (2011)

The Spanish Earth (USA: Joris Ivens, 1937: 52 mins)

Barker, Jennifer Lynne. The Aesthetics of Antifascist Film: Radical Projection. Routledge, 2013. [Get through interlibrary loan]

1938

Alexander Nevsky (Soviet Union: Sergei M. Eisenstein and Dmitri Vasilyev, 1938: 112 mins)

Hoberman, J. "Alexander Nevsky Current (April 23, 2001)

Bringing Up Baby (USA: Howard Hawks, 1938: 102 mins)

Klevan, Andrew. "Expressing the In-Between." LOLA #1 (2011)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

La Bête Humaine (France: Jean Renoir, 1938: 100 mins)

O'Brien, Geoffrey. "La bête humaine: Renoir On and Off the Rails." Current (February 13, 2006)

Too Much Johnson (USA: Orson Welles, 1938: 67 mins)

McBride, Joseph. "Too Much Johnson: Recovering Orson Welles’s Dream of Early Cinema." Bright Lights Film Journal (April 24, 2014)


1939

Destry Rides Again (USA: George Marshall, 1939: 94 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]


Hurne, Mark and Aaron West. "Only Angels Have Wings (1939)."  Criterion Close-Up (May 15, 2016) ["Mark and Aaron fly back to 1939 to discuss Howard Hawks’ classic Only Angels Have Wings. We evaluate the special effects, how the film built suspense, the context of aviation in the late 1930s, and later films that embody a similar masculinity. "]

Gone With the Wind (USA: Victor Fleming, et al, 1939: 238 mins)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Stagecoach (USA: John Ford, 1939: 96 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007. [Professor has copy]

The Wizard of Oz (USA: Victor Fleming, et al, 1939: 102 mins)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Wednesday, December 28, 2011

Jonathan Rosenbaum: Ohayo/Good Morning (1975 Review)

OHAYO/GOOD MORNING (1975 review)
by Jonathan Rosenbaum



Devoted to both the profound necessity and the sublime silliness of gratuitous social interchange, OHAYO is a rather subtler and grander work than might appear at first. Commonly referred to as a remake of Ozu’s silent masterpiece I WAS BORN, BUT . . . , it is as interesting for its differences as for its similarities. The focus of the earlier film is a family adapting to a new neighborhood by undergoing brutal social initiations: the father humiliates himself before his boss to get ahead while the sons are accepted by their peers only after humiliating a local bully. Shocked by the behavior of their father, who says that he has to demean himself in order to feed them, the sons retaliate by going on a hunger strike. In the lighter climate of OHAYO, twenty-seven years later, the setting is again middle-class Tokyo suburbia, but the central family is firmly settled, and serious problems — whether old age, unemployment, or ostracism — are principally reserved for their neighbors and friends. The sons’ complaint this time is that their parents won’t purchase a television set and that grown-ups talk too much; the form of their rebellion is refusing to speak. Significantly, it is the humiliations in the first film which provide much of the comedy, a subject assuming gravity only when it causes a rift between father and sons. But the more pervasive humor of OHAYO extends to the rebellion itself and all it engenders, as well as the various local intrigues surrounding it. Clearly one of Ozu’s most commercially minded movies — with its stately, innocuous muzak of xylophone and strings recalling Tati backgrounds, a similar tendency to keep repeating gags with only slight variations, and a performance of pure ham (quite rare in an Ozu film) by the delightful Masahiko Shimazu as the younger brother — its intricacy becomes apparent only when one realizes that each detail intimately links up with every other. Rhythmically, this is expressed by the alternation of simply stated (if interlocking) miniplots with complex camera setups, less bound by narrative advancement, depicting the physical layout of the neighborhood itself: the perpendicular passageways between houses and the overhead road on the embankment behind brilliantly suggesting certain structures as well as strictures in a society of interdependent yet insulated busybodies.

To Read the Rest of the Review

Films We Want to See: The Interrupters (USA: Steve James, 2011: 125 mins)

Monday, December 26, 2011

ENG 282: 1940s

1940

Abe Lincoln in Illinois (USA: John Cromwell, 1940: 110 mins)

Tudor, Deborah. "The hysteric, the mother, the natural gal — male fantasies and male theories in films about Lincoln." Jump Cut #55 (Fall 2013)

Fantasia (USA: Disney Studios, 1940: 124 mins)

Kutner, C. Jerry. "FANTASIA (1940) – The Varieties of Religious Experience." Bright Lights After Dark (October 25, 2011)

LoBrutto, Vincent. "Animation and Music: Fantasia." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 136-143. [BCTC Library: PN1994 L595 2005]

Foreign Correspondent (USA: Alfred Hitchcock, 1940: 120 mins)

Harris, Mark. "Hitchcock During Wartime." The Current (February 19, 2014)

The Grapes of Wrath (USA: John Ford, 1940: 129 mins)

Sánchez-Escalonilla, Antonio. "From Hoover to Bush Jr.: Home and Crisis Scripts in U.S. Social Cinema." Jump Cut #55 (Fall 2013)

His Girl Friday (USA: Howard Hawks, 1940: 92 mins)

Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)

I Married a Witch (USA: René Clair, 1942: 77 mins) 



Longworth, Karina. "Veronica Lake (Dead Blondes Episode 4)." You Must Remember This (February 20, 2017) ["Veronica Lake had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50?"]

The Philadelphia Story (USAL George Cukor, 1940: 112 mins)

Ray, Robert B. "The Philadelphia Story." The ABCs of Classic Hollywood. NY: Oxford UP, 2008: 85-156.

Rebecca (USA: Alfred Hitchcock, 1940: 130 mins)

Callahan, Dan. "Judith Anderson: Dame Vengeance." The Chiseler (January 2014)

"The Criterion Blogathon: Rebecca (1940)." Phyllis Loves Classic Movies (November 18, 2015)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

The Westerner (USA: William Wyler, 1940: 100 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]

1941

The Lady Eve (USA: Preston Sturges, 1941: 94 mins)

Reginald, Stephen. "Preston Sturges and The Lady Eve." Classic Movie Man (November 15, 2015)

The Maltese Falcon (USA: John Huston, 1941: 100 mins)

Ray, Robert B. "The Maltese Falcon." The ABCs of Classic Hollywood. NY: Oxford UP, 2008: 157-244.

Man Hunt (USA: Fritz Lang, 1941: 105 mins)

Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)

Meet John Doe (USA: Frank Capra, 1941: 122 mins)

Bateman, Conor. "The Secret Video Essays of Jenni Olson." Keyframe (Posted on Vimeo: April 2016)

Never Give a Sucker an Even Break (USA: Edward Cline, 1941: 71 mins)

Kuersten, Erich. "CinemArchetype #4: The Hanged Man." Acidemic  (February 12, 2012)

Sullivan's Travels (USA: Preston Sturges, 1941: 90 mins)

Longworth, Karina. "Veronica Lake (Dead Blondes Episode 4)." You Must Remember This (February 20, 2017) ["Veronica Lake had the most famous hairdo of the 1940s, if not the twentieth century. Her star turn in Preston Sturges’ Sullivan’s Travels and her noir pairings with Alan Ladd made her Paramount’s biggest wartime draw behind Hope and Crosby, but behind the scenes, Lake was a loner with a drinking problem who didn’t give an F about Hollywood etiquette. Bankrupt and without a studio contract, in the early 1950s she consciously quit movies. She claimed she left Hollywood to save her own life -- so how did she end up dead at 50?"]

The Wolf Man (USA: George Waggner, 1941: 70 mins)

Kuersten, Erich. "CinemArchetype #7: The Shadow." Acidemic (March 8, 2012)



1942

The Eternal Jew (Germany: Fritz Hippler, 1942: 62 mins)

Presner, Todd. German 59: Holocaust in Film and Literature (2010 UCLA course posted on Youtube: February 10, 2010)

The Glass Key (USA: Stuart Heisler, 1942: 85 mins)

Kuersten, Erich. "The Veronica Lake Effect." Acidemic #7 (2012)

The Great Love (Germany: Rolf Hansen, 1942: 102 mins)

Brockmann, Stephen. "Die grofse Liebe (1942) or Love and War." A Critical History of German Film Rochester, NY: Camden House, 2010: 167-179. [Professor has copy of the book]

Jungle Book (USA/UK: Zoltan Korda, 1942: 108 mins)

Harvey, Dennis. "Sabu’s Enduring Star Power." Keyframe (January 5, 2014)

This Gun For Hire (USA: Frank Tuttle, 1942: 81 mins)

Kuersten, Erich. "The Veronica Lake Effect." Acidemic #7 (2012)

To Be or Not to Be (USA: Ernst Lubitsch, 1942: 99 mins)

Marsh, Calum. "Can Humor Be Weaponized? We speak of satire as ‘venomous’ and ‘acerbic,’ but it isn’t the damage it deals that makes it significant." Keyframe (April 10, 2016)

Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)

1943

Above Suspicion (USA: Richard Thorpe, 1943: 90 mins)

Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)

Day of Wrath (Denmark: Carl Theodor Dreyer, 1943: 97 mins

Dreyer, Carl Theodor. "Thoughts on My Metier." The Current (August 20, 2001)

Wilkins, Budd. "Birthing Bad: Lars Von Trier’s Antichrist Through the Lens of “Nordic Horror." Acidemic #7 (2012)

Hangmen Also Die! (USA: Fritz Lang, 1943: 134 mins)

Rivas, T.J. "Cinematic Responses to Fascism." Film History and Aesthetics Wiki (A Project of Film 110: Introduction to Film History and Aesthetics at Westminster College)

I Walked with a Zombie (USA: Jacques Tourneur, 1943: 69 mins)



Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

Meshes of the Afternoon (USA: Maya Deren and Alexander Hammid, 1943: 14 mins)

Keller, Sarah. "Teaching Meshes of the Afternoon." The Cine-Files #9 (2016)

Lindbergs, Kimberly. "The Nightmarish of Maya Deren." Movie Morlocks (March 27, 2014)





Shadow of a Doubt (USA: Alfred Hitchcock, 1943: 108 mins)

"Director Alfred Hitchcock’s ‘Shadow of a Doubt’ – ‘Psycho’ – ‘The Birds’." Sound on Sight #309 (February 29, 2012)

Starr, Elana Rose. "Alfred Hitchcock: Auteur Filmmaker." Villanova University (ND)

1944

Cobra Woman (USA: Robert Siodmak, 1944: 71 mins)

Kuersten, Erich. "CinemArchetype #7: The Shadow." Acidemic (March 8, 2012)

Double Indemnity (USA: Billy Wilder, 1944: 107 mins)

D'Angelo, Mike. "Double Indemnity." A.V. Club (August 9, 2009)

LoBrutto, Vincent. "Film Noir: Double Indemnity." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 122-128. [BCTC Library: PN1994 L595 2005]

Gaslight (USA: George Cukor, 1944: 114 mins)

Dahl, Nel. "The Handmaiden by Gaslight: Park Chan-wook’s gothic female-vengeance drama owes a debt to George Cukor." Keyframe (October 19, 2016)

To Have and Have Not (USA: Howard Hawks, 1944: 100 mins)

Hudson, David. "Sex in the Movies." Green Cine (2005)

Laura (USA: Otto Preminger, 1944: 88 mins)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

Meet Me in St Louis (USA: Vincent Minelli, 1944: 113 mins)

Collier, Stuart, Brian Risselada and Tom Sutpen. "Vincente Minnelli: The Beginning (1943-1948)." Illusion Travels by Streetcar #18 (June 12, 2014)

Ray, Robert B. "Meet Me in St Louis." The ABCs of Classic Hollywood. NY: Oxford UP, 2008: 245-328.

National Velvet (USA: Clarence Brown, 1944: 123 mins)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)


1945

I Know Where I Am Going (United Kingdom: Michael Powell and Emeric Pressburger, 1945: 91 mins)

Smith, Imogen Sara. "The Music of Words: Storytelling in Two Powell & Pressburger Films." Bright Lights Film Journal #79 (February 2013)

The Men Who Tread on the Tiger's Tail (Japan: Akira Kurosawa, 1945: 59 mins)

Vahdani, Alireza. "The effects of Kabuki on Akira Kurosawa’s Auteurism, Pt 1." and Part 2 Offscreen (October 31, 2010)

Mildred Pierce (USA: Michael Curtiz, 1945: 111 mins)

D., Margo and Margo P. "Mildred Pierce by J.M. Cain and Starring Joan Crawford." Book vs Movie (April 14, 2017)

Longworth, Karina. "Six Degrees of Joan Crawford: The Middle Years (Mildred Pierce to Johnny Guitar)." You Must Remember This (August 29, 2016) ["Joan Crawford struggled through what she called her “middle years,” the period during her 40s before she remade herself from aging, slumping MGM deadweight into a fleet, journeywoman powerhouse who starred in some of the most interesting films about adult womanhood of the 1940s and 1950s. That revival began with Mildred Pierce (for which Crawford won her only Oscar), and included a number of films, such as Daisy Kenyon and Johnny Guitar, directed by men who would later be upheld as auteurs, subversively making personal art within the commercial industry of Hollywood."]


1946

Beauty and the Beast (France: Jean Cocteau, 1946: 96 mins)

Kuersten, Erich. "CinemArchetype #3: The Animus." Acidemic (February 1, 2012)

Steegmuller, Frances. "Beauty and the Beast." Current (from Cocteau: A Biography Boston: Atlantic-Little, Brown, 1970)

The Best Years of Our Lives (USA: William Wyler, 1946: 172 mins)

Kinder, Bill. "When Soldiers Come Home in the Movies: The post-war experience as told in tropes." Keyframe (November 11, 2015)

The Big Sleep (USA: Howard Hawks, 1946: 114 mins)

Chatterjee, Parma. "A Tale of Two Bookshops: Sex and Books and The Big Sleep." Bright Lights Film Journal #82 (November 2013)

Klevan, Andrew. "Expressing the In-Between." LOLA #1 (2011)

Duel in the Sun (USA: King Vidor, 1946: 144 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]

Gilda (USA: Charles Vidor, 1946: 110 mins)

Hudson, David. "Sex in the Movies." Green Cine (2005)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

It's a Wonderful Life (USA: Frank Capra, 1946: 130 mins)

Sánchez-Escalonilla, Antonio. "From Hoover to Bush Jr.: Home and Crisis Scripts in U.S. Social Cinema." Jump Cut #55 (Fall 2013)

Let There Be Light (USA: John Huston, 1946: 58 mins)

Jones, Kent. "To Tell the Truth: Let There Be Light." Reverse Shot (June 22, 2003)

The Murderers are Among Us (Germany: Wolfgang Staudte, 1946: 85 mins)

Brockmann, Stephen. "Die Mörder sind unter uns (1946): The Rubble Film." A Critical History of German Film Rochester, NY: Camden House, 2010: 196-210. [Professor has copy of the book]

The Living Dead (BBC: Adam Curtis, 1995: three 60 minute episodes) ["The Living Dead: Three Films About the Power of the Past is a series of films that investigate the way that history and memory (both national and individual) have been manipulated and distorted by politicians and others for various means of control."]

My Darling Clementine (USA: John Ford, 1946: 97 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]

Notorious (USA: Alfred Hitchcock, 1946: 101 mins)

"Notorious: Hitchcock's Mature and Intricate Espionage Masterpiece." Cinephilia and Beyond (August 2016)

The Strange Love of Martha Ivers (USA: Lewis Milestone, 1946: 114 mins)

Bastién, Angelica Jade. "The Feminine Grotesque #5: Lilith’s Heir – On The Strange Love of Martha Ivers." Vague Visages (March 18, 2016)

Three Strangers (USA: Jean Negulesco, 1946: 92 mins)

Labuza, Peter and Farran Smith Nehme. "Three Strangers." The Cinephiliacs #6 (October 21, 2012)

1947

Black Narcissus (UK: Michael Powell and Emeric Pressburger, 1947: 100 mins)

Harvey, Dennis. "Sabu’s Enduring Star Power." Keyframe (January 5, 2014)

Daisy Kenyon (USA: Otto Preminger, 1947: 99 mins)

Longworth, Karina. "Six Degrees of Joan Crawford: The Middle Years (Mildred Pierce to Johnny Guitar)." You Must Remember This (August 29, 2016) ["Joan Crawford struggled through what she called her “middle years,” the period during her 40s before she remade herself from aging, slumping MGM deadweight into a fleet, journeywoman powerhouse who starred in some of the most interesting films about adult womanhood of the 1940s and 1950s. That revival began with Mildred Pierce (for which Crawford won her only Oscar), and included a number of films, such as Daisy Kenyon and Johnny Guitar, directed by men who would later be upheld as auteurs, subversively making personal art within the commercial industry of Hollywood."]

Out of the Past (USA: Jacques Tourneur, 1947: 97 mins)

Doherty, Thomas. "Out of the Past." The Cinephiliacs #79 (May 15, 2016)

1948

3 Godfathers (USA: John Ford, 1948: 106 mins)

Freedman, Carl. "Post-Hetrosexuality: John Wayne and the Construction of American Masculinity." Film International 5.1 (2007) [Professor has a copy]

Bicycle Thieves (Italy: Vittorio De Sica, 1948: 93 mins)

LoBrutto, Vincent. "Italian Neorealism: The Bicycle Thief." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 33-38. [BCTC Library: PN1994 L595 2005]

Mooney, James. "Bicycle Thieves." Film and Philosophy (March 8, 2013)

Drunken Angel (Japan: Akira Kurosawa, 1948: 98 mins)

Hogg, Trevor. "Epic Dreamer: An Akira Kurosawa Profile." Flickering Myth (March 24, 2010)

A Foreign Affair (USA: Billy Wilder, 1948: 116 mins)

Riley, Christina. "Billy Wilder's A Foreign Affair: Marlene Dietrich's Star Persona and American Interventionist Strategies in Postwar Berlin." Bright Lights Film Journal #76 (May 2012)

Fort Apache (USA: John Ford, 1948: 125 mins)

Freedman, Carl. "Post-Hetrosexuality: John Wayne and the Construction of American Masculinity." Film International 5.1 (2007) [Professor has a copy]

Kehr, Dave. "How the West Was Filled With Loss." The New York Times (March 25, 2012)

Oliver Twist (UK: David Lean, 1948: 105 mins)

Ferguson, Susan. "Capitalist Childhood in Film: Modes of Critique." Jump Cut #55 (Fall 2013)

Portrait of Jennie (USA: William Dieterle, 1948: 86 mins)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

Ruthless (USA: Edgar G. Ulmer, 1948: 104 mins)

Isenberg, Noah. "Ruthless." The Cinephiliacs #31 (January 19, 2014)

Van Gogh (France: Alain Resnais, 1948: 20 mins)

Cook, Adam. "Vincent Van Gogh In Cinema: A multilayered portrait emerges." Keyframe (May 22, 2016)


1949

The Heiress (USA: William Wyler, 1949: 115 mins)

Donegan, Moira. "Does That Humiliate You?: The Heiress" N + 1 (February 12, 2014)

I Shot Jesse James (USA: Samuel Fuller, 1949: 81 mins)

Anthony, West, David Blakeslee and Robert Nishimura. "The First Films of Samuel Fuller." The Eclipse Viewer #4 (October 24, 2012)

Jour de Fete." (France: Jacques Tati, 1949: 70 mins)

Ross, Kristin. "Jacques Tati, Historian." Current (October 30, 2014)

Kind Hearts and Coronets (UK: Robert Hamer, 1949: 106 mins)

Clarko, Clarko and Daniel Tiger. "Kind Hearts and Coronets." Cinema Gadfly (August 2015)

Le Silence de la Mer (France: Jean-Pierre Melville, 1949: 87 mins)



Lane, Anthony. "Jean-Pierre Melville's Cinema of Resistance." The New Yorker (May 1, 2017) ["His films are illuminated by what he saw when France was ruled by oppression and ordinary people had to decide what, or whom, they would obey."]

She Wore a Yellow Ribbon (USA: John Ford, 1949: 103 mins)

Freedman, Carl. "Post-Hetrosexuality: John Wayne and the Construction of American Masculinity." Film International 5.1 (2007) [Professor has a copy]

Stray Dog (Japan: Akira Kurosawa, 1949: 122 mins)

Hogg, Trevor. "Epic Dreamer: An Akira Kurosawa Profile." Flickering Myth (March 24, 2010)

Under Capricorn (UK: Alfred Hitchcock, 1949: 117 mins)

Anderson, Barry, et al. "The Unedited Commentary Track: Under Capricorn (Alfred Hitchcock; 1949)." Illusion Travels by Streetcar #101 (April 24, 2016)

Megan Ratner: David Cronenberg’s A Dangerous Method

David Cronenberg’s “A Dangerous Method”
by Megan Ratner
Film Quarterly



At the center of the emotional and intellectual geometry of A Dangerous Method are Carl Jung (Michael Fassbender) and his patient Sabina Spielrein (Keira Knightley), a woman so afflicted when she first consults Jung that she can only speak with effort. But she responds to Jung’s prototype of psychoanalysis, and, emboldened by his success, Jung contacts Freud (Viggo Mortensen), his mentor and (as the younger man sometimes puts it) father figure. Meanwhile Spielrein graduates from Jung’s patient to his assistant, and they embark on an affair that threatens both to cause a scandal and to discredit the psychoanalytic movement.

The actors bring an understated subtlety to the material: Mortensen is surprisingly laconic and light in the role of Freud, a far cry from the aggressive protagonists he played in previous outings with Cronenberg, A History of Violence (2005) and Eastern Promises (2007). Unhurried and assured, his portrayal of Freud reveals a man convinced of his own greatness but fretfully protective of the future of his intellectual creation. This undercurrent serves him particularly well in his single scene with Spielrein, in which their shared devotion to the movement eclipses even their shared affection for Jung.

In the role of Spielrein, Knightley is initially startling. Though her writhing and grimaces are credible, it’s her consistently spooked expression, electrified and unpredictable, that makes her performance more than bravado. Even sitting relatively still during her initial session with Jung, Spielrein seems just this side of chaos. Cronenberg explained to me that Christopher Hampton studied Jung’s own notes about Spielrein during a research trip to Geneva. Additionally, Cronenberg viewed early actuality films of women with similar symptoms. “They’re very difficult to watch,” he said, “because it’s sort of a willed deforming.” He worked with the actress to go as far as possible toward depicting such self-disfigurements without getting to the point that it would become too uncomfortable for the audience. By channeling Spielrein’s mania into keen focus, as in the scene where she and Jung measure word-association reaction times (on his wife), Knightley effects a delicate transformation from madwoman to rising analyst. From the outset, she looks for no sympathy, playing Spielrein as an experimenter, unafraid of risk to her body or mind.

To Read the Rest of the Review

ENG 282: 1950s

1950:


The Baron of Arizona (USA: Samuel Fuller, 1950: 97 mins)

Anthony, West, David Blakeslee and Robert Nishimura. "The First Films of Samuel Fuller." The Eclipse Viewer #4 (October 24, 2012)

Devil's Doorway (USA: Anthony Mann, 1950: 84 mins)

Collier, Stuart and Tom Sutpen. "The Unedited Commentary Track: Devil's Doorway (Anthony Mann, 1950)." Illusion Travels by Streetcar #135 (March 6, 2017)

The Furies (USA: Anthony Mann, 1950: 109 mins)

Handzo, Stephen. "Going Through the Devil’s Doorway: The Early Westerns Of Anthony Mann." Bright Lights Film Journal #4 (Summer 1976)

Gun Crazy (USA: Joseph H. Lewis. 1950: 86 mins)

Muller, Eddie. "Gun Crazy." The Cinephiliacs #73 (January 21, 2016)

The Kid (Hong Kong: Fung Fung, 1950: 80 mins)

Lee, Kevin B. "Bruce Lee, Before and After the Dragon." Keyframe (July 18, 2013) ["From orphan child star to kung fu clones: on the 40th anniversary of Bruce Lee’s death, a look at the bizarre bookends of his legendary career."]

La Ronde (France: Max Ophüls, 1950: 97 mins)

LoBrutto, Vincent. "Camera Movement as Metaphor: La Ronde." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 255-260. [BCTC Library: PN1994 L595 2005]

Les Enfants Terribles (France: Jean-Pierre Melville, 1950: 105 mins)

Lane, Anthony. "Jean-Pierre Melville's Cinema of Resistance." The New Yorker (May 1, 2017) ["His films are illuminated by what he saw when France was ruled by oppression and ordinary people had to decide what, or whom, they would obey."]

Night and the City (UK/USA: Jules Dassein, 1950: 96 mins)

Eves, Dave and Aaron West. "Night and the City, Jules Dassein, 1950." Short Cuts (November 10, 2015)

Rio Grande (USA: John Ford, 1950: 105 mins)

Freedman, Carl. "Post-Hetrosexuality: John Wayne and the Construction of American Masculinity." Film International 5.1 (2007) [Professor has a copy]

Stromboli (Italy/USA: Roberto Rossellini, 1950: 81 mins)

Gerke, Greg. "Three Films by Roberto Rossellini Starring Ingrid Bergman: The Criterion Edition of Stromboli, Europe ’51 and Journey to Italy." Senses of Cinema #69 (December 2013)

Hudson, David. "Ingrid Bergman and Roberto Rossellini." Keyframe (May 6, 2014)

Winchester 73 (USA: Anthony Mann, 1950: 92 mins)

Handzo, Stephen. "Going Through the Devil’s Doorway: The Early Westerns Of Anthony Mann." Bright Lights Film Journal #4 (Summer 1976)

1951:

Ace in the Hole (USA: Billy Wilder, 1951: 111 mins)

Eggert, Brian. "Ace in the Hole (1951)." Deep Focus Review (July 17, 2007)

Lee, Spike. "On Ace in the Hole." The Current (May 7, 2014)

A Streetcar Named Desire (USA: Elia Kazan, 1951: 122 mins)

Bell, James and Foster Hirsch. "Birth of the Method: The Revolution in American Acting." Sight and Sound (October 31, 2014)

Pandora and the Flying Dutchman (UK: Albert Lewin, 1951: 122 mins)

Kuersten, Erich. "CinemArchetype #2: The Anima." Acidemic (January 29, 2012)

The Steel Helmet (USA: Samuel Fuller, 1951: 85 mins)

Anthony, West, David Blakeslee and Robert Nishimura. "The First Films of Samuel Fuller." The Eclipse Viewer #4 (October 24, 2012)

Summer Interlude (Sweden: Ingmar Bergman, 1951: 96 mins)

Berrett, Trevor, et al. "Ingmar Bergman's Summer Interlude." CriterionCast #173 (June 25, 2016) ["Touching on many of the themes that would define the rest of his legendary career—isolation, performance, the inescapability of the past—Ingmar Bergman’s tenth film was a gentle drift toward true mastery. In one of the director’s great early female roles, Maj-Britt Nilsson beguiles as an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). Her memories of the sunny, rocky shores of Stockholm’s outer archipelago mingle with scenes from her gloomy present, most of them set in the dark backstage environs of the theater where she works. A film that the director considered a creative turning point, Summer Interlude (Sommarlek) is a reverie about life and death that unites Bergman’s love of theater and cinema."]

1952:

Devil's Doorway (USA: Anthony Mann, 1952: 84 mins)

Handzo, Stephen. "Going Through the Devil’s Doorway: The Early Westerns Of Anthony Mann." Bright Lights Film Journal #4 (Summer 1976)

Europe '51 (Italy: Roberto Rossellini, 1952: 113 mins)

Gerke, Greg. "Three Films by Roberto Rossellini Starring Ingrid Bergman: The Criterion Edition of Stromboli, Europe ’51 and Journey to Italy." Senses of Cinema #69 (December 2013)

Hudson, David. "Ingrid Bergman and Roberto Rossellini." Keyframe (May 6, 2014)

High Noon (USA: Fred Zinneman, 1952: 85 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]

The Life of Oharu (Japan: Kenji Mizoguchi, 1952: 148 mins)

Fromme, Jonathan. "Melodrama, Tears, and Life of Oharu." 16:9 (April 2004)

Singin' In the Rain (USA: Stanley Donen and Gene Kelly, 1952: 103 mins)

Char, Jessie and Arik Devens. "Singin' In the Rain." Cinema Gadfly #6 (ND)


The White Sheik (Italy: Federico Fellini, 1952: 86 mins)

Knapp, Chris. "Growing Up Together: Love Through the Eyes of Fellini." The Paris Review (March 11, 2014)

Rosenbaum, Jonathan. "The White Sheik." The Current (April 28, 2003)

1953:

The 5,000 Fingers of Dr. T (USA: Roy Rowland, 1953: 89 mins)

Smalley, G. "The 5,000 Fingers of Dr. T (1953)." 366 Weird Movies (January 29, 2014)

Stoehr, Andreas. "The 5,000 Fingers of Dr. T The Cinnephiliacs #20 (June 16, 2013)

Fear and Desire (USA: Stanley Kubrick, 1953: 62 mins)

Beyl, Cameron. "The Directors Series: Stanley Kubrick, Pts. 1-5." The Film Stage (February 11, 2015)

The Hitch-Hiker (USA: Ida Lupino, 1953: 71 mins)

Greven, David. "Ida Lupino’s American Psycho: The Hitch-Hiker (1953)." Bright Lights After Dark (February 27, 2014)

Ogundare, Tope. "Male Love Through Female Eyes - Five films about men, each directed by a woman. What do we learn?" Keyframe (March 24, 2016)

Monsieur Hulot's Holiday (France: Jacques Tati, 1953: 83 mins)

Eves, Dave and James Hancock. "The Cinema of Jacques Tati." The Wrong Reel #159 (July 9, 2016)

Ross, Kristin. "Jacques Tati, Historian." Current (October 30, 2014)

Saladino, Andrew. "Jacques Tati: Where to Find Visual Comedy." (Posted on Vimeo: December 2016)

Pickup on South Street (USA: Samuel Fuller, 1953: 80 mins)

Jennings, Tom and Mike White. "Pickup on South Street." Masters of Cinema Cast #56 (December 28, 2016) ["Samuel Fuller's sensational film noir casts a steely eye at America in the dawn of the Cold War, and brings 1950s New York City alive on the screen in a manner rarely equaled in the annals of film. In one of his greatest roles, Richard Widmark plays Skip McCoy, a seasoned pickpocket who unknowingly filches some radioactive loot: microfilm of top-secret government documents. Soon after, Skip finds himself mixed up with federal agents, Commie agents, and a professional stool pigeon by the name of Moe (played by Thelma Ritter in her finest role this side of Rear Window). With its complex ideology, outrageous dialogue, and electric action sequences, Pickup on South Street crackles in a way that only a Sam Fuller movie can, and is widely considered one of the director's finest achievements."]

The Robe (USA: Henry Koster, 1953: 135 mins)

Walter, Brian. "Love In The Time of Calvary: Romance and Family Values in Crucifixion Films." Cineaction #88 (2012)

Sawdust and Tinsel (Sweden: Ingmar Bergman, 1953: 93 mins)

Harper, Dan. "The Taste of Greasepaint: On Bergman’s Sawdust and Tinsel and Ozu’s Floating Weeds." Bright Lights Film Journal (April 24, 2014) ["The Bergman film is much darker, and examines – with sadistic, Strindbergian zeal – the cruelties that men and women inflict on one other when love is distorted by power. The Ozu film is deceptively comic, and looks at how utterly lost men and women become when their families disintegrate. But the odd resemblance between the films remains intriguing."]

Shane (USA: George Stevens, 1953: 118 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.

"Shane and Community." Pop Culture Case Study (March 2, 2017)

Summer With Monica (Sweden: Ingmar Bergman, 1953: 96 mins)

Blakeslee, David, et al. "Ingmar Bergman's Summer with Monica." CriterionCast #174 (July 25, 2016) ["Inspired by the earthy eroticism of Harriet Andersson, in the first of her many roles for him, Ingmar Bergman had a major international breakthrough with this sensual and ultimately ravaging tale of young love. A girl (Andersson) and boy (Lars Ekborg) from working-class families in Stockholm run away from home to spend a secluded, romantic summer at the beach, far from parents and responsibilities. Inevitably, it is not long before the pair are forced to return to reality. The version initially released in the U.S. was reedited by its distributor into something more salacious, but the originalSummer with Monika (Sommaren med Monika), presented here, is a work of stunning maturity and one of Bergman’s most important films."]

Ugetsu (Japan: Kenji Mizoguchi, 1953: 96 mins)

Blakeslee, David, Martin Kessler and Lady P. "Ugetsu and Cinema's Greatest Ghost Stories." Flixwise (August 23, 2016)


1954:



La Strada (Italy: Federico Fellini, 1954: 108 mins)

Knapp, Chris. "Growing Up Together: Love Through the Eyes of Fellini." The Paris Review (March 11, 2014)

On the Waterfront (USA: Elia Kazan, 1954: 108 mins)

Bell, James and Foster Hirsch. "Birth of the Method: The Revolution in American Acting." Sight and Sound (October 31, 2014)

LoBrutto, Vincent. "Method Acting: On the Waterfront." Becoming Film Literate: The Art and Craft of Motion Pictures. Westport, CT: Praeger, 2005: 215-221. [BCTC Library: PN1994 L595 2005]

Longworth, Karina. "On the Waterfront: Elia Kazan (Blacklist Episode #13)." You Must Remember This (May 23, 2016)

Rear Window (USA: Alfred Hitchcock, 1954: 112 mins)

Ebert, Roger. Rear Window. Chicago Sun-Times (February 20, 2000)

Riot in Cell Block 11 (USA: Don Siegel, 1954: 80 mins)

Kenny, Glenn. "There's a Riot Goin' On." The Current (May 1, 2014)

Robinson Crusoe (Mexico: Luis Buñuel, 1954: 90 mins)

Axemaker, Sean. "The Wilderness Years: Buñuel in the Fifties." Keyframe (January 7, 2014)

Salt of the Earth (USA: Herbert J. Biberman, 1954: 94 mins)

"Salt of the Earth libcom (March 28, 2014) ["This drama film is one of the first pictures to advance the feminist social and political point of view. Its plot centres on a long and difficult strike, based on the 1951 strike against the Empire Zinc Company in Grant County, New Mexico. In the film, the company is identified as "Delaware Zinc," and the setting is "Zinctown, New Mexico." The film shows how the miners, the company, and the police react during the strike. In neorealist style, the producers and director used actual miners and their families as actors in the film."]



1955:


The Big Combo (USA: Joseph Lewis, 1955: 84 mins)

López, Cristina Álvarez and Adrian Martin. "The Big Combo: The Maze of Susan Lowell." Keyframe (February 2016)

Death of a Cyclist (Spain/Italy: Juan Antonio Bardem, 1955: 88 mins)

Melville, David. "Bonfire of the Painted Dolls – Bardem and Death of a Cyclist." Senses of Cinema #59 (2011)

Diabolique (France: Henri Georges-Clouzot, 1955: 116 mins)

Derham, Rufus, Ryan Gallagher and James McCormick. "Henri Georges-Clouzot's Diabolique." Criterion Cast (June 6, 2012)

Dreams (Sweden: Ingmar Bergman, 1955: 87 mins)

Heller-Nicholas, Alexandra. "Dreams and Visions: Ingmar Bergman’s Kvinnodröm (Dreams) (1955)." Bright Lights Film Journal (February 3, 2015)

East of Eden (USA: Elia Kazan, 1955: 115 mins)

Merrick, Amy. "Living In: East of Eden." Design Sponge (July 12, 2011)

Wakefield, Thirza. "James Dean, teenager: In the early rock ‘n’ roll era, James Dean’s bright flash of three films before his tragic death spoke to an adolescent audience like never before." BFI (February 2, 2015)

I Live in Fear (Japan: Akira Kurosawa, 1955: 103 mins)

Hedges, Inez. "Amnesiac memory: Hiroshima/Nagasaki in Japanese film." Jump Cut #55 (Fall 2013)

Killer's Kiss (USA: Stanley Kubrick, 1955: 67 mins)

Beyl, Cameron. "The Directors Series: Stanley Kubrick, Pts. 1-5." The Film Stage (February 11, 2015)

Kiss Me Deadly (USA: Robert Aldrich, 1955: 106 mins)

Anderson, Jeffrey M. Kiss Me Deadly Guru (June 20, 2011)

Kutner, C. Jerry. "X Me Deadly: A Visual Essay." Bright Lights After Dark (November 21, 2011)

Lady and the Tramp (USA: Clyde Geronimi, Wilfred Jackson and Hamilton Luske, 1955: 76 mins)

Dowd, James J. "Understanding Social Mobility Through the Movies." Cinematic Sociology: Social Life in Film. Los Angeles, CA: Sage, 2013: 60-69. [In BCTC Library PN1995.9 S6 C543 2013]

The Night of the Hunter (USA: Charles Laughton, 1955: 93 mins)

El Goro and Johnnie Wolfstein. "The Night of the Hunter (1955) and Cape Fear (1962)." Talk Without Rhythm #354 (January 22, 2017)

Williams, Evan Calder. "Sunset with Chainsaw: A New Way of Reading Horror Film Politically." Film Quarterly 64.4 (Summer 2011): 28-33. [I have a copy for students]

Ordet (Denmark: Carl Theodor Dreyer, 1955: 126 mins)

Hughes, Darren. "#3: Ordet." Arts and Faith Top 100 Films (2011)

Smiles of a Summer Night (Sweden: Ingmar Bergman, 1955: 108 mins)

Blakeslee, David, et al. "Ingmar Bergman's Smiles of a Summer Night." Criterion Cast #175 (August 29, 2016) ["After fifteen films that received mostly local acclaim, the 1955 comedy Smiles of a Summer Night (Sommarnattens leende) at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men’s hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema’s great erotic comedies."]



1956:

A Man Escaped (France: Robert Bresson, 1956: 99 mins)

"A Man Escaped." Critics Round Up (Ongoing Archive)

McQuain, Christopher. "A Man Escaped: The Criterion Collection (Blu-ray)." DVD Talk (March 26, 2013)

Tupitsyn, Masha. "On Robert Bresson." Necessary Fiction (January 8, 2014)

Baby Doll (USA: Elia Cazan, 1956: 114 mins)

Kuerstein, Erich. "All Tomorrow's Playground Narratives: Stanley Kubrick's Lolita." Bright Lights Film Journal #65 (August 2009)

---. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)

Bob le Flambeur (France: Jean-Pierre Melville, 1956: 98 mins)

Lane, Anthony. "Jean-Pierre Melville's Cinema of Resistance." The New Yorker (May 1, 2017) ["His films are illuminated by what he saw when France was ruled by oppression and ordinary people had to decide what, or whom, they would obey."]

Death in the Garden (France/Mexico: Luis Buñuel, 1956: 104 mins)

Axemaker, Sean. "The Wilderness Years: Buñuel in the Fifties." Keyframe (January 7, 2014)

Forbidden Planet (USA: Fred M. Wilcox, 1956: 98 mins)

"Week 1: Forbidden Planet." Future Screen (August 7, 2013)

Giant (USA: George Stevens, 1956: 201 mins)

Galán, Hector. "Children of Giant." On Film (April 25, 2015)

Wakefield, Thirza. "James Dean, teenager: In the early rock ‘n’ roll era, James Dean’s bright flash of three films before his tragic death spoke to an adolescent audience like never before." BFI (February 2, 2015)

Invasion of the Body Snatchers (USA: Don Siegel, 1956: 80 mins)

Jenkins, Jamie, Mark Mcgee and Mike White. "Invasion of the Body Snatchers." The Projection Booth #130 (September 3, 2013) ["From the deep reaches of space the pods arrive, ready to take over the human race, erasing our humanity and turning us into walking vegetables. We're looking at the four versions of Invasion of the Body Snatchers (and a few other films)."]

The Killing (USA: Stanley Kubrick, 1956: 85 mins)

Beyl, Cameron. "The Directors Series: Stanley Kubrick, Pts. 1-5." The Film Stage (February 11, 2015)

Lust for Life (USA: Vincent Minnelli, 1956: 122 mins)


The Ten Commandments (USA: Cecil B. DeMille, 1956: 220 mins)

Walter, Brian. "Love In The Time of Calvary: Romance and Family Values in Crucifixion Films." Cineaction #88 (2012)

Written on the Wind (USA: Douglas Sirk, 1956: 99 mins)

Kuersten Erich. "CinemArchetype #6: The Intimidating Nymph." Acidemic (March 2, 2012)


1957:


A Face in the Crowd (USA: Elia Kazan, 1957: 126 mins)

"A Face in the Crowd." On the Media (May 4, 2016)

A Sun-Tribe Myth from the Bakumatsu Era (Japan: Yûzô Kawashima, 1957: 110 mins)

Saunders, D.J.M. "No Gloomy Ones: Double Suicide?" Bright Lights Film Journal #81 (July 2013)

The Cranes are Flying (Soviet Union: Mikhail Kalatozov, 1957: 97 mins)

Wexler, Haskell. "One Scene: The Cranes Are Flying." Current (August 22, 2011)

I Am Waiting (Japan: Koreyoshi Kurahara, 1957: 91 mins)

Berrett, Trevor, David Blakeslee and Pablo Knote. "Nikkatsu Noir, Part 1." The Eclipse Viewer #52 (February 1, 2017)["From the late 1950s through the sixties, wild, idiosyncratic crime movies were the brutal and boisterous business of Nikkatsu, the oldest film studio in Japan. In an effort to attract youthful audiences growing increasingly accustomed to American and French big-screen imports, Nikkatsu began producing action potboilers (mukokuseki akushun, or “borderless action”) that incorporated elements of the western, comedy, gangster, and teen-rebel genres. This bruised and bloody collection represents a standout cross section of what Nikkatsu had to offer, from such prominent, stylistically daring directors as Seijun Suzuki, Toshio Masuda, and Takashi Nomura."]

The Incredible Shrinking Man (USA: Jack Arnold, 1957: 81 mins)

Ferdinand, Marilyn. "The Incredible Shrinking Man (1957)."  Ferdy on Films (August 21, 2016)

Kuersten, Erich. "CinemArchetype #4: The Hanged Man." Acidemic  (February 12, 2012)

Kanal (Poland: Andrzej Wajda, 1957: 91 mins)

Tafoya, Scout. "The Post-Punk Cinema Manifesto." Keyframe (September 10, 2015)

The Nights of Cabiria (Italy/France: Federico Fellini, 1957: 110 mins)

Knapp, Chris. "Growing Up Together: Love Through the Eyes of Fellini." The Paris Review (March 11, 2014)






The Tall T (USA: Budd Boetticher, 1957: 78 mins)

Schamus, James. "The Tall T." The Cinephiliacs #82 (July 25, 2016) ["How does one reconcile the ideas of artistry in cinema, the kind of magic of cinephilia that we see each time we look up at the screen, with the business practices that often painted as limiting it? James Schamus has somehow made a career of toeing this (likely constructed) dichotomy, helping produce some of the early independent films of the 1990s before becoming the co-founder of Focus Features, which made films like The Pianist,Atonement, Brokeback Mountain, and Moonrise Kingdom, as well as a collaborator of Ang Lee, writing the screenplays for The Ice Storm, Ride With The Devil, and Crouching Tiger, Hidden Dragon. James discusses this work between the politics of making art for specialty audiences, as well as his interest in the very nature of art through his work as a theorist and professor at Columbia University. They then turn to his directorial debut, an adaptation of Philip Roth's Indignation, and what it means to modulate performance.Finally, the two discuss Budd Boetticher's 1957 hostage western The Tall T, and what a specialty art house producer can learn from watching Randolph Scott contemplate existence in this low budget western."]

The Three Faces of Eve (USA: Nunnally Johnson, 1957: 91 mins)

Bastién, Angelica Jade. "The Feminine Grotesque #4: Madness, Thy Name Is Eve." Vague Visages (March 11, 2016)

Throne of Blood (Japan: Akira Kurosawa, 1957: 110 mins)

Hogg, Trevor. "Epic Dreamer: An Akira Kurosawa Profile." Flickering Myth (March 24, 2010)

1958:

Cairo Station (Egypt: Youssef Chahine, 1958: 77 mins)

Abrams, Simon. "Egypt’s Historical Tumult: Cairo Station." Keyframe (February 15, 2011)

Gordon, Joel. "Broken Heart of the City: Youssef Chahine’s Bab al-Hadid (Cairo Station)." Journal for Cultural Research 16.2/3 (April-July, 2012)

Kaufman, Anthony. "Another Stop at Cairo Station: Youssef Chahine’s scathing look at societal breakdown in Egypt feels more prescient than ever." Keyframe (April 7, 2014)

The Hidden Fortress (Japan: Akira Kurosawa, 1958: 139 mins)

Hogg, Trevor. "Epic Dreamer: An Akira Kurosawa Profile." Flickering Myth (March 24, 2010)

Russell, Catherine. "The Hidden Fortress: Three Good Men and a Princess." The Current (March 18, 2014)

The Lovers (France: Louis Malle, 1958: 90 mins)

Vincendeau, Ginette. "The Lovers: Succès de scandale." The Current (May 12, 2008)

The Magician (Sweden: Ingmar Bergman, 1958: 100 mins)

Kuersten, Erich. "Quilty Makes This World: 12 Tricksters (CinemArchetype #1)." Acidemic (January 23, 2012)

Man of the West (USA: Anthony Mann, 1958: 100 mins)

Wood, Robin. "Man(n) of the West(ern)." Cineaction #90 (2013) [Professor has a copy of the magazine]

Queen of Outer Space (USA: Edward Bernds, 1958: 80 mins)

Stratton, Catherine. "Lady Lands: What we all can learn from B-movie sci-fi matriarchies." Keyframe (March 23, 2017)

Rusty Knife (Japan: Toshio Masuda, 1958: 90 mins)

Berrett, Trevor, David Blakeslee and Pablo Knote.  "Nikkatsu Noir, Part 1." The Eclipse Viewer #52 (February 1, 2017)["From the late 1950s through the sixties, wild, idiosyncratic crime movies were the brutal and boisterous business of Nikkatsu, the oldest film studio in Japan. In an effort to attract youthful audiences growing increasingly accustomed to American and French big-screen imports, Nikkatsu began producing action potboilers (mukokuseki akushun, or “borderless action”) that incorporated elements of the western, comedy, gangster, and teen-rebel genres. This bruised and bloody collection represents a standout cross section of what Nikkatsu had to offer, from such prominent, stylistically daring directors as Seijun Suzuki, Toshio Masuda, and Takashi Nomura."]

Some Came Running (USA: Vincente Minnelli, 1958: 137 mins)

Bukatman, Scott. "Some Came Running." The Cinephiliacs #84 (August 28, 2016) ["Criticism is often described as an act of interpretation—explaining how or why a film works. But the act of cinema at its most basic level is an experience of image, sound, bodies, gestures, materiality, and everything in between. Stanford Professor Scott Bukatman has explored that experiential level of art in all of its forms from high to low. Scott and Peter cross boundaries of genre and time to discuss post-modern science fiction and its most abstract moments, performative bodies that explained our new technological moment, and even gravitational expectations in the new digital landscape. They also discuss cinema's closest (and often problematic) cousin, the comic book, alongside Scott's new exploration of Hellboy and how the act of reading itself can (and should) be reconsidered in the act of discussing a text. Finally, the two dive deep on Vincent Minnelli's Some Came Running, and truly ask what is it that makes a performance, especially in a melodrama in which the art of acting is key to everything."]


1959:

400 Blows (France: Francois Truffaut, 1959: 99 mins)

Sandhu, Sukhdev. "Film as an act of love." The New Statesman (April 2, 2009) ["Fifty years ago, François Truffaut’s 400 Blows heralded a revolution in cinema."]

Strucci, Shannon. "On How to be a Cinephile." Press Play (February 28, 2015)

Anatomy of a Murder (USA: Otto Preminger, 1959: 160 mins)

Collier, Stuart, et al. "The Unedited Commentary Track: Anatomy of a Murder (Otto Preminger; 1959)." Illusion Travels by Streetcar #90 (January 31, 2016)

Keathley, Christian. "Pass the Salt." (Posted on Vimeo: 2011)

The Bridge (West Germany: Bernhard Wicki, 1959: 103 mins)

Brockmann, Stephen. "Die Brücke (1959): Film and War." A Critical History of German Film Rochester, NY: Camden House, 2010: 302-313. [Professor has copy of the book]

Day of the Outlaw (USA: Andre De Toth, 1959: 92 mins)

"Day of the Outlaw." Masters of Cinema Cast #51 (April 11, 2016)

Floating Weeds (Japan: Yasujirô Ozu, 1959: 119 mins) 

Blakeslee, David, et al. "Floating Weeds." Masters of Cinema (June 20, 2013)

Harper, Dan. "The Taste of Greasepaint: On Bergman’s Sawdust and Tinsel and Ozu’s Floating Weeds." Bright Lights Film Journal (April 24, 2014) ["The Bergman film is much darker, and examines – with sadistic, Strindbergian zeal – the cruelties that men and women inflict on one other when love is distorted by power. The Ozu film is deceptively comic, and looks at how utterly lost men and women become when their families disintegrate. But the odd resemblance between the films remains intriguing."]

Gidget (USA: Paul Wendkos, 1959: 95 mins)

Engle, John. "August and Everything After: A Half-Century of Surfing in Cinema." Bright Lights Film Journal #80 (May 2013)

Letter Never Sent (Soviet Union: Mikhail Kalatozov, 1959: 96 mins)

Anthony, West, et al. "Mikhail Kalatozov's Letter Never Sent." CriterionCast (July 3, 2012) ["The great Soviet director Mikhail Kalatozov, known for his virtuosic, emotionally gripping films, perhaps never made a more visually astonishing one than Letter Never Sent. This absorbing tale of exploration and survival concerns the four members of a geological expedition, who are stranded in the bleak and unforgiving Siberian wilderness while on a mission to find diamonds. Luxuriating in wide-angle beauty and featuring one daring shot after another (the brilliant cinematography is by Kalatozov’s frequent collaborator Sergei Urusevsky), Letter Never Sent is a fascinating piece of cinematic history and a universal adventure of the highest order."]

North by Northwest (USA: Alfred Hitchcock, 1959: 136 mins)

Daseler, Graham. "Depth Takes a Holiday: Good Bad Movies." Bright Lights Film Journal #80 (May 2013)

Sevilla, Susanna. "Things Are Not What They Seem." (Posted on Vimeo: February 2015) ["A video essay on title sequences from Hitchcock and Fincher films. An exploration of motion graphic design from analog to digital."]

Pickpocket (France: Robert Bresson, 1959: 75 mins)

Bordwell, David. "Constructive Editing in Robert Bresson's Pickpocket." (Posted on Vimeo: 2013)

Rio Bravo (USA: Howard Hawks, 1959: 141 mins)

McGee, Patrick. From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell, 2007.[Professor has copy]

Suddenly Last Summer (USA: Joseph L. Mankiewicz, 1959: 114 mins)

Kuersten, Erich. "CinemArchetype #5: The Human Sacrifice." Acidemic (February 28, 2012)

Two Men in Manhattan (France: Jean-Pierre Melville, 1959: 84 mins)

Lane, Anthony. "Jean-Pierre Melville's Cinema of Resistance." The New Yorker (May 1, 2017) ["His films are illuminated by what he saw when France was ruled by oppression and ordinary people had to decide what, or whom, they would obey."]