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)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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."]

Little Caesar (USA: Mervyn LeRoy, 1931: 79 mins)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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

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


Trouble in Paradise (USA: Ernst Lubitsch, 1932: 83 mins)


Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]


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)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]



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)

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)

The Bride of Frankenstein (USA: James Whale, 1935: 75 mins)

Brigden, Charles and James Hancock. "Exploring the Sound of Fear." Wrong Reel #252 (April 2017)

Mad Love (USA: Karl Freund, 1935: 68 mins)

Deighan, Sam, et al. "Mad Love (1935)." The Projection Booth #343 (October 3, 2017) ["Karl Freund's final film as a director and Peter Lorre's first film in America, Mad Love (1935). Based upon Maurice Renard 's The Hands of Orlac, the film shifts focus from the titular Orlac to Dr. Gogol, a cunning physician who specializes in some questionable procedures. He’s fascinated by the actress Yvonne Orlac (Frances Drake) and, rebuffed in his advances, manages to enter her life after he backhandedly helps her husband, concert pianist Stephen Orlac (Colin Clive), by giving him a new pair of hands after his have been crushed in an accident. But what kind of gift are the hands of a murderer on a master musician?"]

Top Hat (USA: Mark Sandrich, 1935: 101 mins)

Heldt, Guido. Music and Levels of Narration in Film. Intellect, 2013. ["This is the first book-length study of the narratology of film music, and an indispensable resource for anyone researching or studying film music or film narratology. It surveys the so far piecemeal discussion of narratological concepts in film music studies, and tries to (cautiously) systematize them, and to expand and refine them with reference to ideas from general narratology and film narratology (including contributions from German-language literature less widely known in Anglophone scholarship). The book goes beyond the current focus of film music studies on the distinction between diegetic and nondiegetic music (music understood to be or not to be part of the storyworld of a film), and takes into account different levels of narration: from the extrafictional to ‘focalizations’ of subjectivity, and music’s many and complex movements between them."]

1936

Dracula's Daughter (USA: Lambert Hillyer, 1936: 71 mins)

Deighan, Samm and Kat Ellinger. "Lust for a Female Vampire Lover: The Evolution of Lesbian Vampires in Cinema, Part 1." Daughters of Darkness #1 (March 12, 2016)  ["This first episode of three begins by examining the lesbian vampire from her origins in eighteenth century Gothic literature, particularly Samuel Taylor Coleridge’s unfinished poem “Christabel” (1797) and Irish writer Sheridan Le Fanu’s story “Carmilla” (1871), both of which explore themes of monstrosity, repressed sexuality, and female identity. “Carmilla” — the source material for the majority of lesbian vampire films — follows a lonely young woman named Laura, who makes a strange, seductive new friend, Carmilla, whose designs on Laura are decidedly sanguinary. Carl Theodor Dreyer’s surreal horror film Vampyr (1932) was the first to adapt “Carmilla,” however loosely, but was followed soon after by the more straightforward Universal horror film, Dracula’s Daughter (1936). The latter — with its depiction of an elegant, sympathetic female vampire reluctantly driven to act out her bloodlust out on female as well as male victims — was among the first to portray vampirism as a blend of madness, female hysteria, sexual dysfunction, and addiction. Dracula’s Daughter would influence subsequent adaptations of “Carmilla,” like Roger Vadim’s lush arthouse effort Blood and Roses (1960) and obscure Italian Gothic horror film Crypt of the Vampire (1964). The film co-starred Hammer star Christopher Lee, who spends much of the running time in an outrageous smoking jacket. Speaking of Hammer studios, the episode wraps up with a discussion of their Karnstein trilogy, a watershed moment for lesbian vampire cinema. Films like The Vampire Lovers (1970), Lust for a Vampire (1971), and Twins of Evil (1971) — as well as some of the studio’s outlier efforts like The Brides of Dracula (1960) or Countess Dracula (1971) — left a bloody mark on vampire films. With minimal violence and plenty of nudity from buxom starlets like Ingrid Pitt, these films generally depict aristocratic vampires preying on innocent young ladies in pastoral settings. A film like The Vampire Lovers was famous for its use of lesbianism and casual nudity, but is quite restrained compared to the films discussed in episode two by European directors like Jess Franco and Jean Rollin."]

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

The Adventures of Robin Hood (USA: Michael Curtiz and William Keighley, 1938: 102 mins)

Heldt, Guido. Music and Levels of Narration in Film. Intellect, 2013. ["This is the first book-length study of the narratology of film music, and an indispensable resource for anyone researching or studying film music or film narratology. It surveys the so far piecemeal discussion of narratological concepts in film music studies, and tries to (cautiously) systematize them, and to expand and refine them with reference to ideas from general narratology and film narratology (including contributions from German-language literature less widely known in Anglophone scholarship). The book goes beyond the current focus of film music studies on the distinction between diegetic and nondiegetic music (music understood to be or not to be part of the storyworld of a film), and takes into account different levels of narration: from the extrafictional to ‘focalizations’ of subjectivity, and music’s many and complex movements between them."]

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)

Holiday (USA: George Cukor, 1938: 95 mins)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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)


Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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)

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)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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]

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?"]

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

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

The Magnificent Ambersons (USA: Orson Welles, 1942: 88 mins)

White, Mike, et al. "The Magnificent Ambersons Production History." (Posted on Vimeo: 2014) ["Orson Welles's follow-up to Citizen Kane adapted Booth Tarkington's Pulitzer prize-winning novel about industrial progress and the loss of innocence set against a tumultuous family, the Ambersons. Welles infamously lost control of The Magnificent Ambersons before its final release. We'll examine its production, its destruction, and attempts to restore what many consider Welles's forgotten masterpiece."]

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)

Le Corbeau (France: Henri-Georges Clouzot, 1943: 92 mins)

Hancock, James and Mikhail Karadimov. "Exploring the Dark Side with Henri-Georges Clouzot." The Wrong Reel #274 (June 1, 2017)

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)

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)

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)

The Jolson Story (USA: Alfred E. Green, 1946: 128 mins)

Naremore, James. "Film Acting and the Arts of Imitation." Cyncos 27.2 (2011) ["Louise Brooks once said that in order to become a star, an actor needs to combine a natural-looking behavior with personal “eccentricity.” My presentation will explore some of the analytical problems raised by this phenomenon: What constitutes eccentricity and how is it balanced by naturalness in specific cases? What happens when a movie star acts in a film in which he or she impersonates the eccentricities of another star (Larry Parks as Al Jolson, Clint Eastwood as John Huston, Cate Blanchett as Bob Dylan, Meryl Streep as Julia Child, etc.)? How can we distinguish between impersonation as caricature and impersonation as dramatic illusion? What is the difference, if any, between impersonation and stylistic influence?"]

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]

Night and Day (USA: Michael Curtiz, 1946: 128 mins)

Heldt, Guido. Music and Levels of Narration in Film. Intellect, 2013. ["This is the first book-length study of the narratology of film music, and an indispensable resource for anyone researching or studying film music or film narratology. It surveys the so far piecemeal discussion of narratological concepts in film music studies, and tries to (cautiously) systematize them, and to expand and refine them with reference to ideas from general narratology and film narratology (including contributions from German-language literature less widely known in Anglophone scholarship). The book goes beyond the current focus of film music studies on the distinction between diegetic and nondiegetic music (music understood to be or not to be part of the storyworld of a film), and takes into account different levels of narration: from the extrafictional to ‘focalizations’ of subjectivity, and music’s many and complex movements between them."]

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)

Quai des Orfèvres (France: Henri-Georges Clouzot, 1947: 106 mins)

Hancock, James and Mikhail Karadimov. "Exploring the Dark Side with Henri-Georges Clouzot." The Wrong Reel #274 (June 1, 2017)


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)

The Red Shoes (UK: Michael Powell and Emeric Pressburger, 1948: 134 mins)

Bird, Daniel, Maitland McDonagh and Mike White. "The Red Shoes (1948)." The Projection Booth #319 (April 20, 2017) ["The film centers on the tumultuous world of dance, namely ballet. We follow Julian Craster (Marius Goring) and Vicky Page (Moira Shearer) through triumphs and misfortunes. A favorite of Martin Scorsese, the film is a triumph of melodrama and includes several breathtaking dance sequences, most notably an adaptation of Hans Christian Andersen's The Red Shoes."]

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)

Whiskey Galore (UK: Alexander Mackendrick, 1949: 80 mins)

Hancock, James and Steven Saunders. "The Cinema of Alexander Mackendrick." Wrong Reel #314 (September 2017)

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