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Joaquim da Silva Universidade de Av
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To Antonio, who made this possible.
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Acknowledgements This long journey
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Finally, I owe a huge debt of grati
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keywords abstract Film Noir, genre,
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2 Social and Political Influences o
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2.4 Joseph H. Lewis................
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Figure 42. Force of Evil ..........
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I. Introduction: Paving the Way for
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term that the film industry itself
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about which films themselves consti
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also, in the films’ fundamental n
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American films after the Nazi occup
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we also find a disruption of the wo
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oth in these French productions of
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Hollywood feature films but it did
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throughout this work); and c) to di
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odies, or as killers and crooks, bu
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these films was to confer on them a
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writer, director, producer, and art
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cinema does not have the power of
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Before working on The Dark Mirror,
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y taking it “from the outside.”
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and many, if not most, films would
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1.1.1 Dashiell Hammett In 1929, Das
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tough appearance, by their occupati
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Apart from “The Continental Op”
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unsettling when for example shootin
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1.1.2 Raymond Chandler Raymond Chan
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Figure 4. The Big Sleep the chaotic
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eleased to the big screen by MGM wi
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most fastidious visions of London i
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hometowns and move into bigger citi
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Double Indemnity started the trend
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has happened, but, as if hypnotized
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destructive, or used by stronger wo
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Tomorrow Goodbye (1950) into a noir
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Home (1937) - were two living proof
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which collapses the distinction bet
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Figure 10. Deadline at Dawn Alex’
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1.1.6 William Riley Burnett Another
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Figure 11. High Sierra The Asphalt
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1.1.7 Conclusions What made the det
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fiction managed to provide for a de
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escalation in illegal drinking plac
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Ben Hecht story and despite being p
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Mercy! Is this the end of Rico?”
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The third originating gangster movi
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part of the recurrent patterns of v
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protagonist of Edgar Ulmer’s Deto
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exemplify in Part III (“Space and
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1.3 The Gothic Romance 87 And trave
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titlecard when the film opens alert
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In Rebecca the beautiful, desirable
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forties. Thematically, the represen
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To complicate this matter further,
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trampled under by war and revolutio
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he says, when Expressionism ended,
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These early Expressionist films, wi
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student, Balduin (Paul Wegener hims
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(Tragedy of the Street, 1927, aka W
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plots with calculating precision. G
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perverted and neurotic sex murderer
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1.5 French Poetic Realism Poetic Re
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(Michèle Morgan), whose godfather
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strikingly atmospheric view of the
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Jean Paulhan, editor of La Nouvelle
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Julien Duvivier’s Pépé Le Moko
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the combination of lighting effects
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peculiar expressionistic lighting a
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Figure 28. Son of Frankenstein This
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Figure 29. Murders in the Rue Morgu
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alienation mixed with nuanced perfo
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2 Social and Political Influences o
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Liberal reforms soon became a spuri
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Polonsky, Jules Dassin, and Edward
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which are themselves historical eve
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Production Code Administration. Thi
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In this particular case, one can se
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Neff: Will you be here too? Phyllis
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against any possible theft of groce
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2.3 Postwar Readjustment If the moo
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In this group of films, the bleak a
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explain, these noir heroes of the f
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(Gilda, White Heat, Scarlet Street,
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seething excitations” and adds th
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Romanticism present at the very hea
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to persist and overcome difficultie
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III. Noir Thematics 1 Essential Ele
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its modernist sensibility, enabled
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Wyatt), cooks breakfast, domestic r
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structures of constituted authority
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1.2 Space and the Noir City Film no
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other people and developing a calcu
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- Page 227 and 228: ealm of near-explicit sexual metaph
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- Page 233 and 234: In my analysis of The Big Combo in
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- Page 239: noticeably the case, for example, w
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- Page 267 and 268: project my viewpoint on the audienc
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Figure 66. Double Indemnity In the
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Figure 67. Scarlet Street The symbo
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contorted Expressionistic grimace,
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Figure 70. Metropolis The clock mot
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Figure 71. Strangers on a Train The
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“When I was young I wanted to be
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themselves in the projection of inn
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woman in the portrait throughout I
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scenes as the attachment is purely
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(namely The Spiral Staircase and Ou
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Chris meets by accident, is a hellc
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2.1.1.4 Conclusion All in all, ther
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Question: Scarlet Street had the sa
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an accepted and well-known screenwr
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Siodmak’s next two films for Univ
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money from Dundee. A more harrowing
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2.2.1 The Spiral Staircase (1946) a
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here increased by the unsteady blac
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Figure 83. The Spiral Staircase Thi
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Warren, making either of them the p
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2.2.1.2 The “Optical Unconscious
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camera is expressive, as it informs
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ordering” - appears to match this
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eyewitness, but at the same time, a
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Figure 87. The Spiral Staircase Bas
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While Cross implicitly acknowledges
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Figure 89. Affair in Trinidad Other
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However, much of this iconography t
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long, wooden staircase while trying
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Figure 93. The Spiral Staircase Fig
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of Nathaniel Hawthorne’s “The B
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almost part of a game, emphasising
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2.3 Jacques Tourneur Born in Paris
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a laughing audience), and broken la
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violent mishaps could have led to h
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writers like Dashiell Hammett (who,
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Chuck Tatum, a cynical, frustrated
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on, Ann, who represents his hope fo
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This kind of temporal manipulation
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ought forward by the characters of
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found Kathie: “I was glad it was
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Figure 102. Out of the Past In this
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Figure 104. The Lady from Shanghai
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Jeff: Give him time. Kathie: You ar
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Figure 106. Out of the Past The sce
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Gun Crazy, a barrage of police gunf
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2.4 Joseph H. Lewis Considered as a
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untold storied of ordinary men and
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through windows, to provide the ind
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2.4.1 The Big Combo (1955) and the
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of most noir films including The Bi
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2.4.1.1 “First is First and Secon
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In The Big Combo the unconscious tr
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It is not only in terms of narrativ
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Although the idea is not to go into
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Figure 113. Scarlet Street Neff’s
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2.4.1.2 The Big Combo and Generic T
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and knowing they are both surrounde
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As the noir movement entered the la
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V. Conclusions: 1 Genre Revisited T
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on social aspects through a dramati
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Buscombe is right: if we take a gen
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constructions that make it difficul
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Such factors have been scrutinised
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Thematically, noir films as a group
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While enforcement of the Production
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are “as often nihilistic, cynical
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which is normally not associated wi
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morality brought about by these noi
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It is within this cinematic and cri
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____________ (1994). The Semiotic C
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____________ (1992b). Farewell, My
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E Easthope, Antony (1993). Contempo
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Greenberg, Joel & Higham, Charles (
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James, David E. (2005). The Most Ty
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Malkiewicz, Kris (1986). Film Light
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N Naremore, James (1978). The Magic
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Polan, Dana (1986). Power and Paran
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____________ (2006). Ava Gardner:
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Sullivan, Ellie (1986). Jacques Lac
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Wilson, Edmund (1962). Classics and
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Appendix I: Annotated Filmography T
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Beware, My Lovely RKO 1952. Prod: C
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Christmas Holiday Univ 1944. Prod:
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Dark Corner, The Fox 1946. Prod: Fr
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Framed Col 1947. Prod: Jules Schern
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House on 92 nd Street, The Fox 1945
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Killing, The UA 1956. Prod: James B
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Mildred Pierce WB 1945. Prod: Jerry
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One Way Street Univ 1950. Prod: Leo
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Repeat Performance EL 1947. Prod: A
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Stranger, The RKO 1946. Prod: S.P.
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Unsuspected, The WB 1947. Prod: Cha
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B) Other Relevant Filmography The f
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Last Laugh, The ScreenSound 1924. P
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Appendix II The Motion Picture P
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VIII. Religion 1. No film or episod
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B. By reason of the mobility of fil
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Reasons Underlying the Particular A
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VIII. Religion The reason why minis
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146, 152, 186, 192, 229, 250, 298,
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high-contrast, 11, 46, 172 Highway
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350, 352, 353, 354, 356, 357, 359,
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Walsh, Raoul, 56, 57, 66, 73, 223,