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Category: michael curtiz

Ben Hecht: Hollywood Headliner

Published January 30, 2018April 13, 2018 by Privilege Of Legends in 30's films, 40's film, 50's film, academy awards, alfred hitchcock, art in film, auteurs, ben hecht, bfi, black comedy, blog essay, broadway, cinematography, classic film, creative writing, crime fiction, crime film, criterion, cult film, directing film, directors, film art, film blog, film design, film essay, film genre, film noir, film parody, film production, film studies, film theory, filmmaking, hollywood, hollywood satire, howard hawks, john ford, john wayne, london film, marilyn monroe, michael curtiz, musicals, NIDA, otto preminger, playwrights, post production, pre-code hollywood, privilege of legends, pulp crime fiction, robert siodmak, satire, screen adaptations, screenwriting, set design, sonny syah, technicolor, theatre in film, Uncategorized, western 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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Feminism And The Film Noir

Published October 7, 2015January 9, 2017 by Privilege Of Legends in 40's film, 50's film, 60's film, anne savage, billy wilder, cinematography, classic film, coen brothers, crime fiction, detour, double indemnity, edward dmytrick, fascism, femme fatale, film art, film essay, film genre, film noir, film production, filmmaking, fritz lang, gaby rodgers, german expressionism, hollywood, james m cain, joan crawford, john ford, linda darnell, michael curtiz, mickey spillane, mildred pierce, neo noir, post-war film, privilege of legends, raymond chandler, rita hayworth, robert siodmak, roman polanski, sam fuller, sonny syah, stanley kubrick, the killing, western films, world cinema

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