Nightmare Alley - Film Noir And The American Dream (57 page)

Jackson, Stephen. Letter to Hal Wallis. Feb. 9, 1948. TS. PCA file,
The Accused
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———. Letter to Hal Wallis. March 8, 1948. TS. PCA file,
The Accused
. MHLSC.

———. Memo to Hal Wallis. May 18, 1948. TS. PCA file,
The Accused
. MHLSC.

Jacobowitz, Florence. “The Man’s Melodrama:
The Woman in the Window
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Scarlet Street
.” Cameron 152–64.

Jameson, Fredric. “Seriality in Modern Literature.”
Bucknell Review
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Jarvie, Ian. “Knowledge, Morality, and Tragedy in
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“Jules Dassin.” Interview by Patrick McGilligan. McGilligan and Buhle 199–224.

Kalinak, Kathryn.
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Kaplan, E. Ann. “Ideology and Cinematic Practice in Lang’s
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.”
Wide Angle
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———., ed.
Women in Film Noir
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Kemp, Philip. “Nightmare Factory: HUAC and the Politics of Noir.”
Sight and Sound
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“Ketti Frings.”
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Kitses, Jim.
Gun Crazy
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Krutnik, Frank.
In a Lonely Street: Film Noir, Genre, Masculinity
. London: Rout-ledge, 1991. Print.

———. “‘A Living Part of the Class Struggle’: Diego Rivera’s
The Flower Carrier
and the Hollywood Left.” Krutnik, Neale, Neve, and Stanfield 51–78.

Krutnik, Frank, Steve Neale, Brian Neve, and Peter Stanfield, eds.
“Un-American” Hollywood: Politics and Film in the Blacklist Era
. New Brunswick, NJ: Rutgers UP, 2007. Print.

Kuhn, Annette, ed.
Queen of the ‘B’s: Ida Lupino behind the Camera
. Trowbridge, UK: Flicks, 1995. Print.

Lackey, Kris.
RoadFrames: The American Highway Narrative
. Lincoln: U of Nebraska P, 1997. Print.

Laderman, David.
Driving Visions: Exploring the Road Movie
. Austin: U of Texas P, 2002. Print.

Langdon-Teclaw, Jennifer. “The Progressive Producer in the Studio System: Adrian Scott at RKO, 1943–1947.” Krutnik, Neale, Neve, and Stanfield 152–68.

Latimer, Jonathan.
Be Still, My Love
. TS. Jan. 15, 1947.
The Accused
script files. MHLSC.

Lears, Jackson.
Fables of Abundance: A Cultural History of Advertising in America
. New York: Basic Books, 1994. Print.

———. [T. J. Jackson Lears]. “From Salvation to Self-Realization: Advertising and the Therapeutic Roots of the Consumer Culture, 1880–1930.”
The Culture of Consumption: Critical Essays in American History, 1880–1980
. Ed. Richard Wightman Fox and T. J. Jackson Lears. New York: Pantheon, 1983. 3–38. Print.

Leavitt, Doris. “Summary:
I Married a Dead Man
.” Oct. 29, 1948. TS.
No Man of Her Own
script files. MHLSC.

Lebeau, Vicky.
Psychoanalysis and Cinema: The Play of Shadows
. London: Wallflower, 2001.

Leff, Leonard. “Becoming Clifton Webb: A Queer Star in Mid-century Hollywood.”
Cinema Journal
47.3 (2008): 3–28. Print.

Levine, Lawrence W. “Jazz and American Culture.”
The Jazz Cadence of American Culture
. Ed. Robert G. O’Meally. New York: Columbia UP, 1998. 431–47. Print.

Lott, Eric. “The Whiteness of Film Noir.”
American Literary History
9.3 (1997): 542–66. Print.

Luckhurst, Roger.
The Trauma Question
. London: Routledge, 2008. Print.

Lupino, Ida. “Eleanor and Anna Roosevelt Broadcast.” TS of radio program. KECA. Feb. 18, 1949. PCA file,
Not Wanted
. MHLSC.

———. Telegram to Joseph Breen. Feb. 9, 1949. TS. PCA file,
Not Wanted
. MHLSC.

Lyndon, Barre.
Be Still, My Love
. Jan. 6, 1947. TS.
The Accused
script files. MHLSC.

———.
Be Still, My Love
. July 25, 1947. TS.
The Accused
script files. MHLSC.

Maltby, Richard. “The Politics of the Maladjusted Text.” Cameron 39–49.

Martin, Angela. “‘Gilda Didn’t Do Any of Those Things You’ve Been Losing Sleep Over’: The Central Women of 40s Films Noirs.” Kaplan,
Women in Film Noir
202–28.

Marx, Karl.
Capital
. Vol. 1. Trans. Samuel Moore and Edward Aveling. Ed. Friedrich Engels. Tucker 294–438.

Marx, Karl, and Friedrich Engels.
Manifesto of the Communist Party
. Ed. Friedrich Engels. Tucker 469–500.

Mason, Fran.
American Gangster Cinema: From “Little Caesar” to “Pulp Fiction.”
London: Palgrave Macmillan, 2002. Print.

Maxfield, James.
The Fatal Woman: Sources of Male Anxiety in American Film Noir, 1941–1991
. Madison: Fairleigh Dickinson UP, 1996. Print.

May, Lary.
The Big Tomorrow: Hollywood and the Politics of the American Way
. Chicago: U of Chicago P, 2000. Print.

McCann, Sean. “Dark Passages: Jazz and Civil Liberty in the Postwar Crime Film.” Krutnik, Neale, Neve, and Stanfield 113–29.

McClary, Susan.
Feminine Endings: Music, Gender, and Sexuality
. Minnesota: U of Minnesota P, 1991. Print.

McGee, Tom.
Betty Grable: The Girl with the Million-Dollar Legs
. Lanham, MD: Vestal, 1995. Print.

McGilligan, Patrick.
Alfred Hitchcock: A Life in Darkness and Light
. New York: Regan-books, 2003. Print.

———.
Fritz Lang: The Nature of the Beast
. New York: St. Martin’s, 1997. Print.

McGilligan, Patrick, and Paul Buhle.
Tender Comrades: A Backstory of the Hollywood Blacklist
. New York: St. Martin’s, 1997. Print.

McGivern, William P.
Odds against Tomorrow
. 1957. London: Xanadu, 1991. Print.

McLean, Adrienne L. “‘It’s Only That I Do What I Love and Love What I Do’:
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Cinema Journal
33.1 (1993): 3–16. Print.

“Meeting Dali!” Web. May 14, 2012.
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.

Metropolitan Museum of Art. “The Painter’s Daughter Mary (1750–1826). Copy after Thomas Gainsborough. (English, mid-19th century).” Web. May 8, 2012.
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.

———. Timeline of Art History: Works of Art. “Fountain Figure of a Winged Infant.” Web. July 22, 2008.
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.

Meyer, Leonard B. “Forgery and the Anthropology of Art.” Dutton,
The Forger’s Art
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Meyerowitz, Joanne. “Beyond the Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946–1958.”
Not June Cleaver: Women and Gender in Postwar America, 1945–1960
. Ed. Joanne Meyerowitz. Philadelphia: Temple UP, 1994. 229–62. Print.

Mijolla, Alain de. “Freud and the Psychoanalytic Situation on Screen.”
Endless Night: Cinema and Psychoanalysis, Parallel Histories
. Ed. Janet Bergstrom. Berkeley: U of California P, 1999. 188–99. Print.

Miklitsch, Robert.
Siren City: Sound and Source Music in Classic American Noir
. New Brunswick, NJ: Rutgers UP, 2011. Print.

“Mildred Pierce.”
Internet Movie Database
. Web. Dec. 30, 2011.

Mills, Katie.
The Road Story and the Rebel: Moving through Film, Fiction and Television
. Carbondale: Southern Illinois UP, 2006. Print.

Minturn, Kent. “
Peinture Noire:
Abstract Expressionism and
Film Noir
.” Silver and Ursini,
Film Noir Reader 2
270–309.

Mitchell, David T. “Narrative Prosthesis and the Materiality of Metaphor.”
Disability Studies: Enabling the Humanities
. Ed. Sharon L. Snyder, Brenda Jo Brueggeman, and Rosemarie Garland-Thomson. New York: MLA, 2002. 15–30. Print.

Mitchell, David T., and Sharon L. Snyder.
Narrative Prosthesis: Disability and the Dependencies of Discourse
. Ann Arbor: U of Michigan P, 2001. Print.

Morris, Christopher D.
The Hanging Figure: On Suspense in the Films of Alfred Hitchcock
. Westport, CT: Praeger, 2002. Print.

Mottram, Eric. “Blood on the Nash Ambassador: Cars in American Films.” Wollen and Kerr 95–114.

Munby, Jonathan.
Public Enemies, Public Heroes: Screening the Gangster from “Little Caesar” to “Touch of Evil.”
Chicago: U of Chicago P, 1999. Print.

Murray, Albert. “Improvisation and the Creative Process.”
The Jazz Cadence of American Culture
. Ed. Robert G. O’Meally. New York: Columbia UP, 1998. 111–13. Print.

Nadelson, Theodore.
Trained to Kill: Soldiers at War
. Baltimore: Johns Hopkins UP, 2005.

Naremore, James. “Hitchcock at the Margins of Noir.”
Alfred Hitchcock: Centenary Essays
. Ed. Richard Allen and S. Ishii-Gonzales. London: BFI, 1999. 262–77. Print.

———.
More Than Night: Film Noir in Its Contexts
. Berkeley: U of California P, 1998. Print.

———.
Sweet Smell of Success
. London: BFI/Palgrave Macmillan, 2010. Print.

Navasky, Victor S.
Naming Names
. New York: Viking, 1980. Print.

Neale, Steve.
Genre and Hollywood
. London: Routledge, 2000. Print.

Ness, Richard R. “A Lotta Night Music: The Sound of
Film Noir
.”
Cinema Journal
47.2 (2008): 52–73. Print.

Neve, Brian.
Film and Politics in America: A Social Tradition
. London: Routledge, 1992. Print.

———. “Red Hollywood in Transition: The Case of Robert Rossen.” Krutnik, Neale, Neve, and Stanfield 184–97. Print.

Norden, Martin F.
The Cinema of Isolation: A History of Physical Disability in the Movies
. New Brunswick, NJ: Rutgers UP, 1994. Print.

Nugent, Frank S. “Mr. Hitchcock Discovers Love.” 1946.
Alfred Hitchcock Interviews
. Ed. Sidney Gottlieb. Jackson: UP of Mississippi, 2003. 17–22. Print.

Oliver, Kelly, and Benigno Trigo.
Noir Anxiety
. Minneapolis: U of Minnesota P, 2003. Print.

Orr, John.
Hitchcock and 20th Century Cinema
. London: Wallflower, 2005. Print.

Osteen, Mark. “The Big Secret:
Film Noir
and Nuclear Fear.”
Journal of Popular Film and Television
22.2 (1994): 79–90. Print.

———. “Face Plates:
T-Men
and the Problem of
Noir
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Quarterly Review of Film and Video
24.2 (2007): 125–42. Print.

Pagano, Jo.
The Condemned
. New York: Prentice-Hall, 1947. Print.

Palmer, R. Barton.
Hollywood’s Dark Cinema: The American Film Noir
. New York: Twayne, 1994. Print.

Palmer, Tim. “Side of the Angels: Dalton Trumbo, the Hollywood Trade Press, and the Blacklist.”
Cinema Journal
44.4 (2005): 57–74.

Paramount press sheets. MHLSC.

Parker, Francine. “Discovering Ida Lupino.”
Action
2.3 (1967): 19. Print.

Pastos, Speros.
Pin-Up: The Tragedy of Betty Grable
. New York: Berkley, 1987. Print.

Patrick, Jack.
Love-Lies-Bleeding
. TS. N.d.
The Strange Love of Martha Ivers
script files. MHLSC.

Pelizzon, V. Penelope, and Nancy West. “‘A Perfect Double Down to the Last Detail’: Photography and the Identity of Film Noir.”
Post Script
22.3 (2003). Web. July 4, 2010.

Polan, Dana.
Power and Paranoia: History, Narrative, and the American Cinema, 1940–1950
. New York: Columbia UP, 1986. Print.

Polito, Robert, ed.
Crime Novels: American Noir of the 1930s and 40s
. New York: Library of America, 1997. Print.

Pomerance, Murray.
An Eye for Hitchcock
. New Brunswick, NJ: Rutgers UP, 2004. Print.

Porfirio, Robert. “Dark Jazz: Music in the
Film Noir
.” Silver and Ursini,
Film Noir Reader 2
176–87.

———. “
The Killers:
Expressiveness of Sound and Image in
Film Noir
.” Silver and Ursini,
Film Noir Reader
177–87.

———. “No Way Out: Existential Motifs in the
Film Noir
.” Silver and Ursini,
Film Noir Reader
77–93.

Prime, Rebecca. “Cloaked in Compromise: Jules Dassin’s ‘Naked City.’” Krutnik, Neale, Neve, and Stanfield 142–51.

Quart, Barbara Koenig.
Women Directors: The Emergence of a New Cinema
. New York: Praeger, 1988. Print.

Quayson, Ato.
Aesthetic Nervousness: Disability and the Crisis of Representation
. New York: Columbia UP, 2007. Print.

Rae, John B.
The American Automobile: A Brief History
. Chicago: U of Chicago P, 1965. Print.

———.
The American Automobile Industry
. New York: Twayne, 1984. Print.

Reid, David, and Jayne L. Walker. “Strange Pursuit: Cornell Woolrich and the Abandoned City of the Forties.” Copjec 57–96.

Renov, Michael.
Hollywood’s War time Women: Representation and Ideology
. Ann Arbor, MI: UMI Research P, 1988. Print.

Rieff, Philip. “The Tactics of Interpretation.” Bloom 51–57.

Ringel, Shoshana. “Talk Therapy: The Representation of Insight in the Cinema.” Brandell,
Celluloid Couches
169–90.

Rivkin, Allen.
Be Still, My Love
. TS. Dec. 9, 1946.
The Accused
script files. MHLSC.

———. Letter to Hal Wallis. Oct. 14, 1946. TS. Hal Wallis Papers. MHLSC.

Rothberg, Michael.
Traumatic Realism: The Demands of Holocaust Representation
. Minneapolis: U of Minnesota P, 2000. Print.