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Akira Kurosawa
Class Differences
Rashomon
Ikiru
Seven Samurai
Yojimbo
Ran
Camera Movement
Rashomon
Ikiru
Seven Samurai
Yojimbo
Ran
Heroism
Rashomon
Ikiru
Seven Samurai
Yojimbo
Ran
Conclusion
Bibliography
Costumes and Settings
Ambition
Lora Before
Lora After
Susie
Identity
On the Waterfront
Rebel without a Cause
Splendor in the Grass
Metamorphosis
Hats
Green Dresses
Tara Plantation
Status
All Quiet on the Western Front
La grande illusion
The Best Years of Our Lives
Bibliography
The Hitchcock Effect: Hitchcock’s Influence as an Auteur
Aesthetics
Spellbound
Rear Window
Psycho
Recurring Themes and Motifs
Mistaken Identity Theme
The Double Motif
It’s a Man’s World: Fear of Loss of Masculinity Theme
Editing and Story Composition
Rear Window
Psycho
Audience Role
I See…–Audience Role in Spellbound
Clueless–Audience Role in Rear Window
Back to the Surface–Audience Role in Psycho
Gender Roles
Hitchcock’s Gender Roles: Spellbound by Ben Elliott
Hitchcock’s Gender Roles: Rear Window by Ben Elliott
Hitchcock’s Gender Roles: Psycho by Ben Elliott
Bibliography
Pathos of the Privileged
Film Aesthetics Approaches
Masculinity Dilemma through Aesthetics
Ikiru: Cinematography and Mise-en-scène
Musical Score in The Third Man, Ikiru, and On the Waterfront
Cinematography in On the Waterfront, Rebel without a Cause, and The Third Man
Conflict Typology Approaches
Antagonistic forces in On the Waterfront and The Third Man
The Seventh Seal: Man Against Himself, His Fellow Men, and God
Gender Studies Approaches
Holly Martins a Cowboy? The Third Man
Femininity in On the Waterfront and Cat on a Hot Tin Roof
Paradoxical Shifts in The Third Man and Vertigo
Philosophical Approaches
The Third Man’s Virtue
Ikiru and Kantian Ethics
Ikiru and The Seventh Seal: An Existential Crisis
Filmography
Bibliography
Portrayals of Conflict Against Authority
1930 to 1935
Justice from the Underworld
Social Conflict in Frankenstein
A Wild World of War
1936 to 1941
The Grand Illusion: Prisoners fighting back
The Great Dictator: Challenging authority with characters and commentary
The Philadelphia Story: Rising up, or stepping down?
1942 to 1947
Casablanca (1942)- During World War II
The Best Years of Our Lives (1946)- After World War II
1948 to 1953
All About Eve
A Streetcar Named Desire
From Here to Eternity
1954 to 1959
Conflict with Authority On the Waterfront (1954)
Representations of Conflict with Authority in Ben Hur (1959)
Conflict with Authority Manifested in Imitation of Life (1959)
Bibliography 1954-1959
1960 to 1965
Cold War, Film, and Rising Against Authority in the Early 1960’s
Orson Welles: “The Trial”
Jean-Luc Godard: “Alphaville”
Bibliography
Film Noir
Conventions of Noir
Dangerous Women: Noir and the Femme Fatale
Mystery Men: Noir Detectives
Well Dressed and Well Armed: Villains in Noir
Directors of Noir
Fritz Lang
Orson Welles
Billy Wilder
Foreign Noir
British Film Noir and The Third Man (1949)
French Noir and Le Samourai (1967)
Film Noir and Akira Kurosawa
Influences
Influences of Film Noir
Italian Neorealism Influence on Film Noir
Post-Noir Influences
Bibliography
The 39 Steps to the Nouvelle Vague: Hitchock’s Influence on the French New Wave
Overview: History of Cahiers, auteur theory, and the new wave
Cahiers du cinema
Auteur Theory
La Nouvelle Vague
Alfred Hitchcock
British Cinema Vanishes: Hitchcock’s Final Years in the UK
Hypnotized by Hollywood: Hitchcock and Selznick Spellbound for Each Other
South by Southwest: Hitchcock in the New Hollywood
Francois Truffaut
The Truffaut/Hitchcock Interviews
The 400 Blows
Confidentially Yours
Jean-Luc Godard
Hitchcock’s Pete the Madman
Beating the Master: Film as Responsive Criticism
Hitchcock’s Film Writing
Bibliography
Camera Movement
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