A Companion to Woody Allen (Wiley-Blackwell Companions to

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Edited by way of well known Allen specialists, A significant other to Woody Allen provides a suite of 26 unique essays at the director’s motion pictures. Contributions provide a few divergent severe views whereas increasing the contexts within which his paintings is understood.
• A well timed better half by way of the authors of 2 of crucial books on Allen to date
• Illuminates the flicks of Woody Allen from a few divergent severe perspectives
• Explores the contexts within which his paintings can be understood
• Assesses Allen’s outstanding filmmaking profession from its early beginnings and investigates the conflicts and contradictions that suffuse it
• Discusses Allen’s popularity as an international cinematic determine

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Extra resources for A Companion to Woody Allen (Wiley-Blackwell Companions to Film Directors)

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Yet unlike the 1934–40 era, and even the 1941–5 period, in which most American films were either escapist (hence the use of Abbott and Costello, as well as the numerous wartime musicals) or overtly patriotic (Ray the dream of return 35 Enright’s Gung Ho (1943) is an excellent example of this, chronicling the exploits of a team of American guerrilla fighters who volunteer for a nearly suicidal mission against Japanese forces in the South Pacific), the films of 1945 to the early 1950s, no matter what their genre, are in many instances shot through with a sense of despair and longing, yearning for a time past when social issues were less complex.

The postwar era marked the definitive turning point for American society in the twentieth century; the war was over, but so was the dream of the past. CHAPTER 2 The Postwar Bubble When noir came along, it changed everything. Women were among those who eagerly embraced the new world of noir, having been cut out of the film industry since the 1920s, and none did it with more style and verve than Ida Lupino. An actress since the 1930s, she had always wanted to work behind the camera to tell the stories that simply weren’t being shown on the screen; in 1949, she got her first chance to direct.

Despite the film’s tight budget and schedule, Ulmer brings both grace and style to Strange Illusion’s complex narrative, giving Paul Cartwright’s privileged world a genuine sense of substance and splendor. Lewis Milestone’s The Strange Love of Martha Ivers (1949), on the other hand, is an ‘A’ noir that documents Martha Ivers’s (Barbara Stanwyck) tyrannical control of an entire Midwestern town, through the local factory that she inherited as a child. Like Paul Cartwright, Martha is a child of wealth and power, but in Milestone’s film, Martha’s hold on those around her has corrupted her completely; Martha believes that her money can buy her anything, whether it be the love of old flame Sam Masterson (Van Heflin), who drifts into town on a whim, or her putative husband, the weak and ineffectual district attorney Walter O’Neil (Kirk Douglas), whom Martha despises.

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