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Within the Prism of Film Noir : An interview with Adrian Wootton 在黑色电影的棱镜内:对阿德里安·伍顿的采访
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00126_7
Theresa Rodewald
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引用次数: 0
The Big Grab of a Heist : Any Number Can Win, from page to screen 大抢抢劫:任何数字可以赢，从页面到屏幕
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00115_1
Brian Greene
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引用次数: 0
Whispers in the Mind’s Eye : Reginald Le Borg’s Calling Dr. Death (1943) 心灵之眼的低语:雷金纳德·勒博格呼唤死亡博士(1943)
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00117_1
G. Rhodes
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引用次数: 0
Ten Reasons Not to Announce Your Movie Deal 不要宣布你的电影合约的十个理由
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00123_1
Ken Bruen
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引用次数: 0
Cover Girls : A conversation with Hard Case Crime’s Charles Ardai 封面女郎:与《重案犯罪》的查尔斯·阿尔代的对话
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00124_7
Jake Rutkowski
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引用次数: 0
The Moon Makes One Mad : The Moon in the Gutter (La Lune dans le caniveau, 1983) 《月亮让人发疯:阴沟里的月亮》(1983)
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00114_1
R. Leatherwood
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引用次数: 0
Editorial Issue 97 : Noir Now More Than Ever 社论第97期:黑色比以往任何时候都重要
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00106_2
M. Sorrento
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引用次数: 0
Return from Neo-Oblivion : Richard Fleischer’s Trapped (1949) from Flicker Alley 从新湮灭回归:理查德·弗莱舍的陷阱(1949)从闪烁巷
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00109_1
Tony Williams
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引用次数: 0
Where Emotions Roil but Are Not Revealed : Ossie Davis’s Cotton Comes to Harlem 哪里的情绪混乱，但不透露:奥西戴维斯的棉花来到哈莱姆
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00110_1
Joseph Hirsch
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引用次数: 0
Philly to the Steel Pier : David Goodis’s The Burglar from novel to shooting script 从费城到钢铁码头:大卫·古迪斯的《飞贼》从小说到拍摄剧本
Film International Pub Date : 2021-09-01 DOI: 10.1386/fint_00113_1
Jay A. Gertzman
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引用次数: 0
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