Results 61 to 70 of about 1,660 (84)

Douglas Sirk und das ironisierte Melodram

, 2022
1937 floh der deutsche Regisseur Douglas Sirk in die USA. Die Melodramen, die er im Hollywood der 1950er Jahre drehte, prägten das Genre nachhaltig.
Thomas Brandlmeier
semanticscholar   +1 more source

Sirk and God

The Films of Douglas Sirk, 2019
This chapter discusses how Sirk’s films in which religion plays an important part aren’t concerned with whether or not there is a God. Instead their focus is firmly fixed on those who believe in some higher power or who don’t.
T. Ryan
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“Black Wimmin Who Pass, Pass into Damnation”: Race, Gender, and the Passing Tradition in Fannie Hurst’s Imitation of Life and Douglas Sirk’s Film Adaptation

Journal of narrative theory, 2019
Fannie Hurst’s 1933 novel Imitation of Life is ostensibly the story of Bea Pullman, an entrepreneurial, white, single mother who establishes a successful waffle-house restaurant chain with the help of her black maid and friend, Delilah.
Lauren Kuryloski
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Love and Class in Douglas Sirk’s All That Heaven Allows

Critical Inquiry, 2019
1 One sure sign, among many others, that the great melodramas of Douglas Sirk’s time at Universal Studios (1952–1959) might not be all they initially seem is the immediate ambiguity of the titles of many of the most ambitious ones.
Robert B. Pippin
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Performing Madness in Douglas Sirk’s Written on the Wind

Lit: Literature Interpretation Theory, 2019
In the 1956 melodrama Written on the Wind, director Douglas Sirk introduces the spectator to a Texan oil family, the Hadleys, matched in their wealth only by their dysfunction.
C. Wilson
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Sirk and John M. Stahl

The Films of Douglas Sirk, 2019
Sirk remade three films that were originally directed by John M. Stahl in the 1930s, his versions based on fictions by well-known novelists. This chapter focuses on how the various intersections and divergences between the three versions of “the same ...
T. Ryan
semanticscholar   +1 more source

The Films of Douglas Sirk

, 2019
Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists ...
T. Ryan
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Douglas Sirk, aesthetic modernism and the culture of modernity

Visual Studies, 2019
In a similar vein, Fiona Hillary and Geoff Hogg’s Interrogating Space: The Urban Laboratory (Chapter 7) also examines how public art and the ‘curation of “live test sites” for public art’ (p.
L. Bayman
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Rainer Werner Fassbinder and Douglas Sirk: Recreation of All That Heaven Allows as Angst essen Seele auf (1974)

Palgrave Studies in Adaptation and Visual Culture, 2021
William H. Mooney
semanticscholar   +1 more source

Douglas Sirk

, 2021
Robert B. Pippin
semanticscholar   +1 more source