77
Sunset Strip (1963); 80 Steps to Jonah (1969); Actor's Studio (1949–1950); Alcoa
Theatre (1959); Alfred Hitchcock Presents (1956–1961); American Masters (2005);
Armstrong Circle Theatre (1953–1955); Bob Hope Presents the Chrysler Theatre
(1967); Bonanza (1970–1971); Campbell Summer Soundstage (1954); Cinderella
(1965); Colorspace Vol. 1 (2010); Cool Hand Luke (1967); Cosmopolitan Theatre (1951);
Danger (1954–1955); East of Eden (1955); East of Eden: Art in Search of Life (2005);
Encounter (1956); Frontier Circus (1962); General Electric Theater (1959); Great
Performances (1971); Gunfight at the O.K. Corral (1957); Hollywood Heaven:
Tragic Lives, Tragic Deaths (1990); I Love You, Alice B. Toklas! (1968); I'll
Cry Tomorrow (1955); Inner Sanctum (1954); James Dean's Lost Slideshow (2013); Kraft
Suspense Theatre (1964); Kraft Theatre (1955–1956); Kraft Theatre / The Philco
Television Playhouse (1952–1955); Kraft Theatre / The United States Steel Hour
(1954); Mannix (1970); Max Liebman Spectaculars (1955); Medical Center
(1971–1973); Mod Squad (1970); Moving Image Salutes Elia Kazan (1987); Naked
City (1962); NBC Experiment in Television (1967); Play of the Week (1960–1961);
Police Woman (1977); Power (1980); Robert Montgomery Presents (1955); Route 66
(1963); Satan's School for Girls (1973); Seize the Day (1986); Star Tonight
(1955); Summer Playhouse (1964); Suspense (1954); The 14th Annual Tony Awards
(1960); The 28th Annual Academy Awards (1956); The 69th Annual Academy Awards
(1997); The DuPont Show of the Month (1959–1961); The Ed Sullivan Show (1956); The
Family Rico (1972); The Film Society Of Lincoln Center Annual Gala Tribute to
Paul Newman and Joanne Woodward (1975); The Gang That Couldn't Shoot Straight
(1971); The King and Four Queens (1956); The Mask (1954); The Rose Tattoo (1955);
The Tenant (1976); The Virginian (1966); The Wild Wild West (1969); This Angry
Age (1958); Thriller (1961); Westinghouse Desilu Playhouse (1958); Wild River
(1960).
Left to right: George
Marshall, Claire Trevor, Glenn Ford, and William Holden, on the set of the
movie Texas (1941).
Credits:
Police Woman (1975); The
Crazy World of Julius Vrooder (1974); Hec Ramsey (1972); Cade's County (1972); Daniel
Boone (1964–1970); Here's Lucy (1969); Hook, Line and Sinker (1969); The Wicked
Dreams of Paula Schultz (1968); Eight on the Lam (1967); Tarzan (1966); Boy,
Did I Get a Wrong Number! (1966); The Wackiest Ship in the Army (1965); Valentine's
Day (1964–1965); Advance to the Rear (1964); Dark Purpose (1964); Papa's
Delicate Condition (1963); How the West Was Won (1962); The Happy Thieves
(1961); Cry for Happy (1961); The Gazebo (1959); It Started with a Kiss (1959);
The Mating Game (1959); Imitation General (1958); The Sheepman (1958); The Sad
Sack (1957); The Guns of Fort Petticoat (1957); Beyond Mombasa (1956); Pillars
of the Sky (1956); Cavalcade of America (1955); Screen Directors Playhouse
(1955); The Second Greatest Sex (1955); Destry (1954); Duel in the Jungle
(1954); Red Garters (1954); Money from Home (1953); Houdini (1953); Scared
Stiff (1953); Off Limits (1952); The Savage (1952); A Millionaire for Christy
(1951); Ace of Clubs (1951); Never a Dull Moment (1950); Fancy Pants (1950); My
Friend Irma (1949); Lust for Gold (1949); Tap Roots (1948); Hazard (1948); Variety
Girl (1947); The Perils of Pauline (1947); Monsieur Beaucaire (1946); The Blue
Dahlia (1946); Hold That Blonde! (1945); Incendiary Blonde (1945); Murder, He
Says (1945); And the Angels Sing (1944); True to Life (1943); Riding High
(1943); Star Spangled Rhythm (1942); The Forest Rangers (1942); Valley of the
Sun (1942); Texas (1941); Pot o' Gold (1941); When the Daltons Rode (1940); The
Ghost Breakers (1940); Destry Rides Again (1939); You Can't Cheat an Honest Man
(1939); Hold That Co-ed (1938); Battle of Broadway (1938); The Goldwyn Follies
(1938); Love Under Fire (1937); Nancy Steele Is Missing! (1937); Can This Be
Dixie? (1936); The Crime of Dr. Forbes (1936); A Message to Garcia (1936); Show
Them No Mercy! (1935); In Old Kentucky (1935); Music Is Magic (1935); $10 Raise
(1935); Life Begins at 40 (1935); 365 Nights in Hollywood (1934); She Learned
About Sailors (1934); Wild Gold (1934); Ever Since Eve (1934); Call It Luck
(1934); The Big Fibber (1933); Husbands' Reunion (1933); Sweet Cookie (1933); Caliente
Love (1933); Easy on the Eyes (1933); Olsen's Big Moment (1933); Towed in a
Hole (1932); Their First Mistake (1932); The Soilers (1932); A Firehouse
Honeymoon (1932); Alum and Eve (1932); Pack Up Your Troubles (1932); The Old
Bull (1932); Strictly Unreliable (1932); Just a Pain in the Parlor (1932); Big
Dame Hunting (1932); He Loved Her Not (1931); Hey Diddle Diddle (1930); Uncle's
Visit (1929); Puckered Success (1929); Tomato Omelette (1929); Watch My Smoke (1929);
No Children (1929); Circus Time (1929); No Vacation (1929); Camping Out (1928);
No Sale Smitty (1928); No Picnic (1928); Gentlemen Prefer Scotch (1927); Girls
(1927); From a Cabby's Seat (1926); A Parisian Knight (1925); The Sky Jumper
(1925); The Big Game Hunter (1925); A Spanish Romeo (1925); The Burglar (1924);
Paul Jones, Jr. (1924); The Race (1924); The Hunt (1924); The Fight (1924); The
Back Trail (1924); Men in the Raw (1923); Where Is This West? (1923); Don
Quickshot of the Rio Grande (1923); The Haunted Valley (1923); West Is West (1922);
Smiles Are Trumps (1922); The Jolt (1921); The Lady from Longacre (1921); After
Your Own Heart (1921); A Ridin' Romeo (1921); Hands Off! (1921); Why Trust Your
Husband (1921); Prairie Trails (1920); Ruth of the Rockies (1920); Charlot,
Charlot! (1919); The Adventures of Ruth (1919); The Gun Runners (1919); The
Husband Hunter (1918); The Fast Mail (1918); Beating the Limited (1918); When
Paris Green Saw Red (1918); Naked Fists (1918); The Midnight Flyer (1918); Quick
Triggers (1918); The Man from Montana (1917); The Ninth Day (1917); Squaring It
(1917); Right of Way Casey (1917); Meet My Wife (1917); Double Suspicion (1917);
Swede Hearts (1917); The Honor of Men (1917); Casey's Border Raid (1917); Bill
Brennan's Claim (1917); The Desert Ghost (1917); The Raid (1917); Roped In (1917);
Border Wolves (1917); They Were Four (1917); The Comeback (1917); Won by Grit (1917);
The Devil's Own (1916); A Woman's Eyes (1916); Love's Lariat (1916); The
Committee on Credentials (1916); The Code of the Mounted (1916); Across the Rio
Grande (1916); The Waiters' Ball (1916); And the Best Man Won (1915).
"The best book available on the genre of movies set in
the dark, wet streets of the urban US." – Choice.
"A concrete, concise study of noir against an
impressive historical vista that brings to light the complex relation between
alienation and obsession that makes up these films." – Rain Taxi Review.
"Dickos provides a sharp critical and psychological
evaluation of a genre that continues to mutate long after many pronounced it
dead." – Shepherd Express.
Andrew Dickos's Street with No Name traces the film
noir genre back to its roots in German expressionist cinema and the French
cinema of the interwar years. Dickos describes the development of the film noir
in America from 1941 through the 1970s and examines how this development
expresses a modern cinema. He argues that, in its most satisfying form, the
film noir exists as a series of conventions with an iconography and characters
of distinctive significance. Featuring stylized lighting and urban settings,
these films tell melodramatic narratives involving characters who commit crimes
predicated on destructive passions, corruption, and a submission to human
weakness and fate.
Unlike other studies of the noir, Street with No Name
follows its development in a loosely historical style that associates certain
noir directors with those features in their films that helped define the scope
of the genre. Dickos examines notable directors such as Orson Welles, Fritz
Lang, Otto Preminger, and Robert Siodmak. He also charts the genre's influence
on such celebrated postwar French filmmakers as Jean-Pierre Melville, Francois
Truffaut, and Jean-Luc Godard.
Addressing the aesthetic, cultural, political,
and social concerns depicted in the genre, Street with No Name
demonstrates how the film noir generates a highly expressive, raw, and violent
mood as it exposes the ambiguities of modern postwar society.