Nightmare Alley - Film Noir And The American Dream (56 page)

Bloom, Harold, ed.
Sigmund Freud’s “The Interpretation of Dreams.”
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Bogdanovich, Peter.
Who the Devil Made It
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Borde, Raymond, and Etienne Chaumeton. “Towards a Definition of
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Brandell, Jerrold R., ed.
Celluloid Couches, Cinematic Clients: Psychoanalysis and Psychotherapy in the Movies
. Albany: SUNY P, 2004. Print.

———. “Eighty Years of Dream Sequences: A Cinematic Journey Down Freud’s ‘Royal Road.’”
American Imago
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———. “Introduction.” Brandell,
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Breen, Joseph. Letter to Forrest Judd. July 27, 1949. TS. PCA file,
The Underworld Story
. MHLSC.

———. Letter to Jack Warner. August 26, 1946. TS. PCA file,
Possessed
. MHLSC.

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

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

———. Letter to Jason S. Joy. Nov. 5, 1948. TS. PCA file,
Thieves’ Highway
. MHLSC.

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

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

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

Brill, Lesley.
The Hitchcock Romance: Love and Irony in Hitchcock’s Films
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Britton, Andrew. “
Detour
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Broe, Dennis.
Film Noir, American Workers, and Postwar Hollywood
. Gainesville: UP of Florida, 2009. Print.

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

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

Brown, Royal.
Overtones and Undertones: Reading Film Music
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Brumbaugh, Gary. “Mini-Biography: Nina Foch.”
Internet Movie Database
. Web. Dec. 21, 2011.

Buhle, Paul, and Dave Wagner.
Radical Hollywood: The Untold Story behind America’s Favorite Movies
. New York: New P, 2002. Print.

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

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

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

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

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

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

Campbell, D’Ann.
Women at War with America: Private Lives in a Patriotic Era
. Cambridge, MA: Harvard UP, 1984. Print.

Cantor, Paul A. “Film Noir and the Frankfurt School: America as Wasteland in Edgar Ulmer’s
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Caruth, Cathy. “Introduction to Psychoanalysis, Trauma and Culture I.”
American Imago
48.1 (1991): 1–12. Print.

Caspary, Vera.
Laura
. 1942. Rpt. with an Afterword by A. B. Emrys. New York: Feminist P at the City U of New York, 2005. Print.

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

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

Ceplair, Larry, and Steven Englund.
The Inquisition in Hollywood: Politics in the Film Community, 1930–1960
. Berkeley: U of California P, 1983. Print.

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

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

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

Conard, Mark T., ed.
The Philosophy of Film Noir
. Lexington: UP of Kentucky, 2006. Print.

Cook, Pam. “
Outrage
(1950).” Kuhn 57–72.

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

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

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

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

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

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

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

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

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

DeLillo, Don.
Americana
. 1971. Rev. ed. New York: Viking, 1989. Print.

DeVeaux, Scott.
The Birth of Bebop: A Social and Musical History
. Berkeley: U of California P, 1997. Print.

Dickos, Andrew.
Street with No Name: A History of the Classic American Film Noir
. Lexington: UP of Kentucky, 2002. Print.

Dimendberg, Edward.
Film Noir and the Spaces of Modernity
. Cambridge, MA: Harvard UP, 2004. Print.

Dixon, Wheeler Winston, ed.
American Cinema of the 1940s: Themes and Variations
. New Brunswick, NJ: Rutgers UP, 2006. Print.

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

Doane, Mary Ann.
The Desire to Desire: The Woman’s Film of the 1940s
. Bloomington: Indiana UP, 1987. Print.

———.
Femmes Fatale: Feminism, Film Theory, Psychoanalysis
. New York: Routledge, 1991. Print.

Donati, William.
Ida Lupino: A Biography
. Lexington: UP of Kentucky, 1996. Print.

Dutton, Denis. “Art Hoaxes.”
Encyclopedia of Hoaxes
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.

———. “Artistic Crimes.” Dutton,
The Forger’s Art
172–87.

———, ed.
The Forger’s Art: Forgery and the Philosophy of Art
. Berkeley: U of California P, 1983. Print.

Dyer, Richard. “Postscript: Queers and Women in Film Noir.” Kaplan,
Women in Film Noir
123–29.

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

ehow.com. “Where Did the Name Cadillac Come From?” Web. June 23, 2011.
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.

Ellin, Stanley.
Dreadful Summit
. New York: Simon and Schuster, 1948. Print.

Ellison, Ralph.
Shadow and Act
. New York: Vintage, 1964. Print.

Elsaesser, Thomas.
Weimar Cinema and After: Germany’s Historical Imaginary
. London: Routledge, 2001. Print.

Emerson, Ralph Waldo. “Self-Reliance.”
Essays: First and Second Series
. New York: Vintage/Library of America, 1990. 27–52. Print.

Erickson, Glenn. “The Restoration of
Kiss Me Deadly
.”
Film Noir of the Week: Friday, July 13, 2007
. Web. August 20, 2011.
www.noiroftheweek.com/2007/07/restoration-of-kiss-me-deadly-1955.html
.

Eyles, Allen. “Films of E
NTERPRISE
: A Studio History.”
Focus on Film
35 (April 1980): 13–27. Print.

Field, Patrick. “No Particular Place to Go.” Wollen and Kerr 59–64.

Fisher, Steve.
I Wake Up Screaming
. 1941. Rev. ed. 1960. New York: Vintage/Black Lizard, 1991. Print.

Flinn, Caryl.
Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music
. Princeton, NJ: Princeton UP, 1992. Print.

Flory, Dan.
Philosophy, Black Film, Film Noir
. University Park: Pennsylvania St. UP, 2008. Print.

Fotsch, Paul Mason. “
Film Noir
and Automotive Isolation in Los Angeles.”
Cultural Studies ↔ Critical Methodologies
5.1 (2005): 103–25. Print.

Foucault, Michel.
Discipline and Punish: The Birth of the Prison
. Trans. Alan Sheridan. New York: Pantheon, 1978. Print.

Francke, Lizzie.
Script Girls: Women Screenwriters in Hollywood
. London: BFI, 1994. Print.

Frank, Arthur W.
The Wounded Storyteller: Body, Illness, and Ethics
. Chicago: U of Chicago P, 1995. Print.

Franklin, Benjamin.
The Autobiography
. New York: Vintage/Library of America, 1989. Print.

Freedman, Jonathan. “From
Spellbound
to
Vertigo:
Alfred Hitchcock and Therapeutic Culture in America.”
Hitchcock’s America
. Ed. Jonathan Freedman and Richard Millington. New York: Oxford UP, 1999. 77–98. Print.

Freud, Sigmund.
Civilization and Its Discontents
. 1930. Trans. James Strachey, with a biographical introduction by Peter Gay. New York: Norton, 1989. Print.

———.
The Interpretation of Dreams
. 1900. Ed. and trans. James Strachey. New York: Avon, 1972. Print.

Frings, Ketti.
The Accused
. Sept. 21, 1948. TS.
The Accused
script files. MHLSC.

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

———.
The File on Thelma Jordon
. Jan. 4, 1949. TS.
The File on Thelma Jordon
script files. MHLSC.

———.
The File on Thelma Jordon
. Feb. 7, 1949. TS.
The File on Thelma Jordon
script files. MHLSC.

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

Fuchs, Daniel. Untitled Notes on
Hollow Triumph
. TS. Dec. 26, 1947. Paul Henreid Papers. MHLSC.

Gabbard, Krin.
Jammin’ at the Margins: Jazz and the American Cinema
. Chicago: U of Chicago P, 1996. Print.

Gabbard, Krin, and Glen O. Gabbard,
Psychiatry and the Cinema
. 2nd ed. Chicago: U of Chicago P, 1999. Print.

Gay, Peter.
Freud: A Life for Our Times
. London: Dent, 1988. Print.

“Gertrude Walker.”
Internet Movie Database
. Web. Dec. 29, 2011.

Giddens, Anthony.
The Consequences of Modernity
. Stanford, CA: Stanford UP, 1990. Print.

Gioia, Ted.
The History of Jazz
. New York: Oxford UP, 1997. Print.

Gorbman, Claudia.
Unheard Melodies: Narrative Film Music
. Bloomington: Indiana UP, 1987. Print.

Gray, J. Glenn.
The Warriors: Reflections on Men in Battle
. New York: Harper and Row, 1970. Print.

Gresham, William Lindsay.
Nightmare Alley
. 1946. Polito 516–796.

Grossman, Julie.
Rethinking the Femme Fatale in Film Noir: Ready for Her Close-up
. New York: Palgrave Macmillan, 2009. Print.

Gunning, Tom.
The Films of Fritz Lang: Allegories of Vision and Modernity
. London: BFI, 2000. Print.

Hammett, Dashiell.
The Maltese Falcon
. 1930.
Complete Novels
. Ed. Steven Marcus. New York: Library of America, 1999. 387–585. Print.

Hanson, Helen.
Hollywood Heroines: Women in Film Noir and the Female Gothic Film
. London: I. B. Tauris, 2007. Print.

Harris, Oliver. “Film Noir Fascination: Outside History, but Historically So.”
Cinema Journal
43.1 (2003): 3–24. Print.

Hartmann, Ernest.
Dreams and Nightmares: The New Theory on the Origin and Meaning of Dreams
. New York: Plenum, 1998. Print.

Haskell, Molly.
From Reverence to Rape: The Treatment of Women in the Movies
. New York: Holt, Rinehart and Winston, 1974. Print.

Hastie, Amelie.
The Bigamist
. London: BFI/Palgrave Macmillan, 2009. Print.

Hillis, Ken. “Film Noir and the American Dream: The Dark Side of Enlightenment.”
Velvet Light Trap
55.1 (2005): 3–18. Print.

Hirsch, Foster.
The Dark Side of the Screen: Film Noir
. New York: Da Capo, 1983. Print.

Hirsch, Joshua. “Film Gris Reconsidered.”
Journal of Popular Film and Television
34.2 (2006): 82–93. Print.

Hughes, Dorothy B.
Ride the Pink Horse
. 1946. New York: Canongate, 2002. Print.

Hughes, Langston. “Harlem [2].”
Montage of a Dream Deferred
. 1951.
The Collected Poems of Langston Hughes
. Ed. Arnold Rampersad. New York: Vintage, 1994. 426. Print.

Humphries, Reynold. “The Politics of Crime and the Crime of Politics: Postwar Noir, the Liberal Consensus and the Hollywood Left.” Silver and Ursini,
Film Noir Reader 4
227–45.

Hyde, Thomas. “The Moral Universe of Hitchcock’s
Spellbound
.”
A Hitchcock Reader
. Ed. Marshall Deutelbaum and Leland Poague. Ames: Iowa St. UP, 1986. 153–61. Print.

Irwin, John T.
Unless the Threat of Death Is behind Them: Hard-Boiled Fiction and Film Noir
. Baltimore: Johns Hopkins UP, 2006. Print.