Download Bad Boys: The Actors of the Film Noir by Karen Burroughs Hannsberry PDF

By Karen Burroughs Hannsberry

Movie noir offers gritty tales and in charge viewing excitement. approximately ninety male actors of vintage movie noir titles of the Nineteen Forties and Fifties are featured during this quantity. The researcher will locate the anticipated (James Cagey, Humphrey Bogart, Robert Mitchum), the fewer popular (Morris Carnovsky, Douglas Fowley), and actors who go beyond the style (Kirk Douglas, Alan Ladd). the writer additionally wrote Femme Noir: undesirable ladies of movie (McFarland, 1988). For the recent quantity, she selected actors who've performed major roles in different movie noir releases, and considered 240 motion pictures so that it will describe the plots and characters accurately.

Most of the quantity treats those "bad boys" extensive, in A to Z entries starting from 5 to 12 pages in size. own lifestyles tales are intermingled with discussions of flicks. whereas the emphasis is on noir, a few motion pictures outdoors the style are mentioned in the event that they are seminal to the actor (e.g., the Andy Hardy sequence for Mickey Rooney). A filmography and bibliography finish every one access. Black-and-white images support the reader establish person actors, a few of whom, corresponding to Jay Flippen and Gene Lockhart, could be remembered extra for his or her "mugs" than for his or her monikers. an extra 25 actors are given one-page remedies within the first appendix. one other appendix supplies noteworthy strains, prepared via wide subject similar to "Regarding Dames," "Sizing Up the opposite Guy," and "Penetrating Put-downs" (e.g., Richard Widmark's line "I wouldn't provide the pores and skin off a grape," from Kiss of Death). Following the overall bibliography, an index lists titles, names, and awards.

Depth instead of breadth is the most important to this stress-free reference paintings, for you to be welcomed through the movie fan in addition to good because the researcher and is usually recommended for better movie collections.

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Sinn, Louis Reeves Harrison, Clyde Martin, Ernest J. Luz, and H. L. 33 Sometimes they followed the example of the Edison Company’s cue sheets and simply listed specific pieces, or types of generic music, that might be effectively applied to certain scenes in certain recent or forthcoming releases. ”37 And sometimes, significantly, they wrote in general terms on what film accompanists should do. 43 Musical gestures that are synchronized with filmic action should likewise be used sparingly. Make sure that the music does not overwhelm the film; remember that audiences come to the cinema to experience a variety of motion pictures, not to hear a concert.

Indd 25 2/3/15 6:03 PM 26 James Wierzbicki As the term suggests, a musical cue sheet for a film (or for a staged drama) is a list of cues—that is, signals contained within the script or stage directions— that indicate precisely when some sort of musical action should be undertaken. According to his self-aggrandizing account, Winkler hit upon the idea in 1912 after attending yet another nickelodeon exhibition during which the pianist failed to hit the mark. Much of his cinema-going experience, Winkler tells us, had involved accompanists just blundering through their jobs, playing this or that merely for the sake of filling an exhibition space with sound.

Whereas the elegant multi-reel films from Hollywood were truly at home only in the sumptuous movie palaces that started to be built in the commercial centers of large cities on the eve of World War I,21 the humble one-reel nickelodeon films from America’s eastern seaboard were perfectly comfortable in makeshift theaters set up in the narrow and long storefronts that since the 1880s had figured into the commercial life not just of American cities but also of American small towns. Whereas a two- or three-hour Hollywood film behooved its entire audience to be present at a specific starting time, an evening of ten- or twelve-minute nickelodeon films—perhaps in combination with performances by a vocalist who sang to the accompaniment of both a piano and projected slides22—had five or six starting times an hour.

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