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Category: hays code

Film Censorship & Pre-Code Hollywood

Published August 12, 2018August 16, 2018 by Privilege Of Legends in 30's films, al capone, barbara stanwyck, british board of film censors, charles laughton, crime fiction, crime film, edward g. robinson, ernst lubitsch, fatty arbuckle scandal, femme fatale, film censorship, film production code, gangster films, george raft, h.g wells, hays code, hollywood court cases, horror, island of lost souls, james cagney, jean harlow, joan crawford, john dillinger, lewis milestone, little caesar, mccarthyism, murders in the zoo, organised crime, paul muni, pre-code hollywood, pre-code horror, privilege of legends, pulp crime, pulp crime fiction, realism in film, red-headed woman, scarface, science fiction, silent films, sonny and his pen, sonny syah, stock market collapse 1929, the great depression, the island of dr. moreau, the jazz age, the public enemy, tod browning, Uncategorized, w. somerset maugham, walter huston, warner brothers, william desmond taylor, william hays, william wellman

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Noir in Six Fatal Kisses

Published March 11, 2018March 29, 2021 by Privilege Of Legends in 40's film, 50's film, academy awards, art direction, art in film, ben hecht, bfi, billy wilder, blog essay, classic film, cold war, creative writing, crime fiction, crime film, criterion, cult film, directing film, directors, double indemnity, fascism, femme fatale, film art, film blog, film censorship, film design, film essay, film genre, film noir, film production, film studies, film theory, filmmaking, gangster films, hard boiled, hays code, hollywood, independent american cinema, independent film, james cagney, james m cain, london film, mccarthyism, mickey spillane, neo noir, privilege of legends, pulp crime, pulp crime fiction, pulp fiction, ralph meeker, raoul walsh, raymond chandler, richard conte, rko pictures, robert aldrich, robert siodmak, sam fuller, samuel fuller, scorsese, screen adaptations, screenwriting, sonny syah, spy films, spy movies, stanley kubrick, Uncategorized, war films

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The Spy Films Of Fritz Lang

Published January 5, 2018January 6, 2018 by Privilege Of Legends in 40's film, academy awards, adventure films, alfred hitchcock, anti-nazi, anti-war film, art direction, art in film, auteurs, bfi, blog essay, british cinema, carol reed, cinematography, classic film, cold war, creative writing, crime fiction, crime film, criterion, cult film, directing, directing film, directors, fascism, film art, film blog, film censorship, film design, film essay, film genre, film noir, film production, film studies, film theory, film vienna, filmmaking, foreign cinema, foreign film, fritz lang, german expressionism, graham greene, graphic art, hard boiled, hays code, hitchcock, hollywood, independent american cinema, independent film, italian neo-realism, london film, mccarthyism, michael curtiz, neo-realism, neorealism, NIDA, paramount pictures, period films, politics, post production, post-war film, pre-war film, privilege of legends, propaganda film, screen adaptations, screenwriting, silent films, sonny syah, spy films, spy movies, the third man, thriller, Uncategorized, war films, warner brothers, world cinema

From Stage To Screen

Published September 1, 2017September 1, 2017 by Privilege Of Legends in 30's films, 40's film, 50's film, 60's film, 70's cinema, academy awards, acting, AFTRS, alfred hitchcock, art direction, art in film, ballet, best film design, bfi, black comedy, british cinema, cinematography, classic film, classical music, costume design, creative writing, criterion, cult film, directing film, directors, film art, film blog, film design, film essay, film genre, film music, film posters, film production, film scores, film studies, film theory, filmmaking, foreign cinema, foreign film, fritz lang, hays code, hollywood, hollywood satire, horror, howard hawks, independent american cinema, jack nicholson, jack palance, john huston, king vidor, kirk douglas, london film, marilyn monroe, marlon brando, marx brothers, mccarthyism, michael curtiz, musical theatre, musicals, NIDA, parody, period films, playwrights, post production, post-war film, pre-code hollywood, pre-war film, privilege of legends, robert aldrich, satire, screen adaptations, screenwriting, set design, shakespeare, silent films, sonny syah, symbolism in film, tennessee williams, the big knife, theatre in film, Uncategorized, world cinema

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Through The Lens: James Wong Howe

Published January 19, 2017May 25, 2018 by Privilege Of Legends in 30's films, 50's film, 60's film, academy awards, acting, AFTRS, art in film, asian cinema, auteurs, bfi, blog essay, cinematography, classic film, classical music, cold war, colour in film, creative writing, crime fiction, crime film, criterion, cult film, directing film, director of photography, directors, experimental film, femme fatale, film art, film blog, film censorship, film design, film essay, film genre, film lighting, film noir, film production, film studies, film theory, filmmaking, gangster films, graphic art, hard boiled, hays code, howard hawks, independent american cinema, independent film, james cagney, james wong howe, john ford, john huston, london art, london film, long takes, mccarthyism, melodrama, michael curtiz, mob films, neorealism, NIDA, period films, politics, post production, post-war film, pre-code hollywood, privilege of legends, pulp crime fiction, rko pictures, sam fuller, samuel fuller, sci-fi, screenwriting, shooting technique, silent films, sonny syah, surrealism, symbolism in film, technicolor, thriller, toning, Uncategorized, war films

The Good Pulp Novelist Always Rings True

Published November 20, 2016January 9, 2017 by Privilege Of Legends in 30's films, 40's film, 50's film, academy awards, AFTRS, art in film, auteurs, avant garde, bfi, blog essay, cinematography, classic film, creative writing, crime fiction, crime film, criterion, cult film, directing film, directors, fascism, femme fatale, film art, film blog, film censorship, film design, film essay, film genre, film noir, film production, film studies, film theory, filmmaking, foreign cinema, foreign film, france, french cinema, french new wave, gangster films, hard boiled, hays code, hollywood, italian neo-realism, london art, london film, michael curtiz, mildred pierce, neo noir, neo-realism, neorealism, period films, poetic realism, post production, post-war film, pre-code hollywood, privilege of legends, pulp crime fiction, raymond chandler, rko pictures, screenwriting, sonny syah, symbolism in film, Uncategorized, world cinema

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Soured Hopes & Cinema’s Hoodlum

Published March 23, 2016January 9, 2017 by Privilege Of Legends in 30's films, 40's film, academy awards, art in film, asian cinema, bfi, blog essay, cinematography, classic film, creative writing, crime fiction, crime film, criterion, cult film, d.w griffith, directing film, film art, film blog, film censorship, film design, film genre, film noir, film studies, film theory, filmmaking, foreign film, french new wave, gangster films, hays code, hollywood, humphrey bogart, independent film, james cagney, japanese cinema, jean-pierre melville, le bonbon uk, london art, neo noir, pre-code hollywood, pre-war film, prohibition era, pulp crime fiction, raoul walsh, scorsese, screenwriting, shooting technique, silent films, sonny syah, thriller, Uncategorized, world cinema

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