Inhaltsangabe:Abstract: I have chosen the two films that will be subjected to examination in this work because they have a lot in common at first glance. Their scripts are based on crime novels of the so called hardboiled school, a stream in American popular literature that developed after the First World War. They were both filmed in the 1940s and produced by the Warner Brothers studio. No scholarly or critical discussion of the Hollywood genre of film noir is complete without them, and they both feature Humphrey Bogart as the main actor in the role of the private eye. What I hope to show this thesis is not only that these films, despite the similarities outlined above, are far from being basically the same movies, but additionally to give convincing reasons why this is the case. One of these reasons will be the evaluation of the fact that the literary private eyes that the heroes of John Huston s The Maltese Falcon (1941) and Howard Hawks The Big Sleep (1946) are based on already differ in their character concept, and that these differences correspondingly found their way to the screen in the adaptations. A further decisive point for measuring the differences between the films is that I will assume that these movies were financial successes because they reflected the times that they were made in and thus gave movie audiences what they wanted to see. That movies are products of their time is a fact as blatant as it is true, yet one that has repeatedly been called into question in the past. The Hollywood genre system, the directors, the financial interests of the movie-making industry have all been pointed out as shaping a movie and its content rather than some mysterious connection between a film and the popular mind, the convictions, dreams and anxieties of the masses commonly referred to as a people s culture. But although I do not doubt the significance of the factors mentioned above, I agree with Albert Quart and Leonard Auster who pointed out that filmmakers are human beings and parts of their societies, and that, consequently, they are touched by the same tensions and fantasies and their profits are usually dependent on their ability to guess popular feelings . Will Wright similarly argued that the popular success of a movie can be considered as evidence that it struck a nerve with contemporary audiences, as stars and promotion campaigns promising action-filled escapist fantasies alone have frequently turned out to be insufficient [...]
ossession:-amā'the “oise: , ś head'ail but lying under her as deadly, ... seemed to undes stand, exactly how to deal with conceited death 's head.
Similarly , Nadja in " Word for Word " is reluctant to call Mr. Frankel by his first name , Ludwig , an act which would signal an acceptance of his appropriateness for her , since Ludwig — like Robert , Ernst , Fritz , Erich , Franz ...
Ellen went to Mrs. Donahue's house for help and Pius was soon hurrying to St. Lucy to telephone for a doctor. When Pius returned he brought the Carriers who remained all night. Bill and Pius helped the doctor set the bone and bind in ...
The mother was on Donahue. 60 Minutes did the doc and they'll repeat the news at ten. People dying, people killing, people crying— you can see it all on TV. Reality is really on TV. It's just another way to see— starvation in North ...
Philip P. Wiener . New York : Charles Scribner's Sons , 1973 . Plato . Plato : The Symposium . Trans . and ed . Alexander Nehemas and Paul Woodruff . Indianapolis : Hackett Publishing Company , 1989 . Plummer , Kenneth , ed .
When the credits started to roll and Carmen, needing her meds and cigarettes, handed Ryan her car keys, Mary Ellen stared in disbelief. “She's giving him her keys!” she thought, eyeing Pepe, trying to catch his attention because he knew ...
Here she debuts a provocative new story written especially for this series.
We make our way slowly into the assembly hall, where 26 identical pillars cut from one rock line the sides. A fat stupa cut of the same rock stands at the innermost part of the hall; 20 feet high, it's shaped like an overturned bowl ...
... 126 , 134 174 , 203 , 211 , 212 , 216 Theodorides , Aristide , 93 Wiseman , D. J. , 50 , 51 , 67 , Thomas , D. Winton , 170 , 84 , 85 , 89 , 93 , 170 , 200 171 , 200 Thompson , R. Campbell , Wolf , Herbert , 126 22 , 47 , 113 Wright ...
Everyone seems to have got something out of the speeches, the Metaphysical Revolution was declared, and Shelley's wind is now scattering “sparks, my words among mankind” (the passage Kathleen Raine quoted). We now hope it translates ...