La Parisienne (1910); Philomene
(1910); Tout en Rose (1910).
Stage:
Stop! Look! Listen! (December
25, 1915 - March 25, 1916); The Revue of Revues (September 27, 1911 - November 11,
1911); The Honeymoon Express (February 6, 1913 - June 14, 1913); The Belle of
Bond Street (March 30, 1914 - May 9, 1914); Vera Violetta (November 20, 1911 - February
24, 1912).
Movies and television:
Animated
Weekly, No. 55 (1913); Her Triumph (1915); Infatuation (1918); La nuit est à
elles, Paris 1919-1939 (2018); La remplaçante (1916); Le Dieu du hasard (1920);
Rosy Rapture (1915).
Stand Up and Cheer!
(1934); In Old Kentucky (1935); Steamboat Round the Bend (1935); Doubting
Thomas (1935); Life Begins at 40 (1935); The County Chairman (1935); Judge
Priest (1934); Handy Andy (1934); David Harum (1934); Mr. Skitch (1933); Doctor
Bull (1933); State Fair (1933); Too Busy to Work (1932); Down to Earth (1932); Business
and Pleasure (1932); Ambassador Bill (1931); Young as You Feel (1931); A
Connecticut Yankee (1931); Lightnin' (1930); So This Is London (1930); They Had
to See Paris (1929); Happy Days (1929); A Texas Steer (1927); Tiptoes (1927); Roaming
the Emerald Isle with Will Rogers (1927); With Will Rogers in Dublin (1927); Gee
Whiz, Genevieve (1924); A Truthful Liar (1924); Our Congressman (1924); Jubilo,
Jr. (1924); Don't Park There (1924); Going to Congress (1924); High Brow Stuff
(1924); The Cake Eater (1924); The Cowboy Sheik (1924); Two Wagons: Both
Covered (1924); Uncensored Movies (1923); Hustlin' Hank (1923); Jus' Passin'
Through (1923); Hollywood (1923); Fruits of Faith (1922); The Headless Horseman
(1922); The Ropin' Fool (1922); One Glorious Day (1922); A Poor Relation (1921);
Doubling for Romeo (1921); An Unwilling Hero (1921); Boys Will Be Boys (1921); Guile
of Women (1920); Honest Hutch (1920); Cupid the Cowpuncher (1920); Jes' Call Me
Jim (1920); The Strange Boarder (1920); Water, Water, Everywhere (1920); Jubilo
(1919); Almost a Husband (1919); Laughing Bill Hyde (1918); Roaring Camp (1916).
What
is film noir? With its archetypal femme fatale and private eye, its darkly-lit
scenes and even darker narratives, the answer can seem obvious enough. But as
Ian Brookes shows in this new study, the answer is a lot more complex than
that. This book is designed to tackle those complexities in a critical
introduction that takes into account the problems of straightforward definition
and classification. Students will benefit from an accessible introductory text
that is not just an account of what film noir is, but also an interrogation of
the ways in which the term came to be applied to a disparate group of American
films of the 1940s and 1950s.