Edgar G. Ulmer: Detour on Poverty Row illuminates the paintings of this under-appreciated movie auteur via 21 new essays penned via quite a number students from world wide. Ulmer, an immigrant to Hollywood who fell from grace in Tinseltown after just one studio movie, turned one of many reigning administrators of Poverty Row B-movies. based in 4 sections, half I examines numerous contexts vital to Ulmer's occupation, comparable to his paintings on the manufacturers liberating company (P.R.C.), and his paintings in exploitation movies and ethnic cinema. half II analyzes Ulmer's movie noirs, that includes an emphasis on Detour (1945) and homicide Is My Beat (1955). half III covers various Ulmer's person motion pictures, starting from Bluebeard (1944) and Carnegie corridor (1947) to the guy from Planet X (1951) and Daughter of Dr. Jekyll (1957). half IV concludes the quantity with a case research of The Black Cat (1934), providing 3 assorted analyses of Ulmer's landmark horror movie.
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Extra resources for Edgar G. Ulmer: Detour on Poverty Row
3. Bret Wood, “Edgar G. Ulmer: Visions from the Second Kingdom,” Video Watchdog 41 (1997), 24. 4. John Izod, Hollywood and the Box Office 1895–1986 (New York: Columbia University Press, 1988), 36–37. 5. This definition is provided by Brian Taves in his discussion of B films between 1930 and 1939. Brian Taves, “The B Film: Hollywood’s Other Half,” in Grand Design: Hollywood as A Modern Business Enterprise 1930–1939, ed. Tino Balio (Berkeley: University of California Press, 1995), 342. 6. According to Greg Merritt, by 1928 there were seven hundred theatres serving black audiences alone.
Belton, “Prisoners of Paranoia,” 17. 35. “Strange Illusion,” Daily Variety, February 12, 1945, 3. 36. Belton suggests that the letters were written before the judge’s death and were left in trust for Paul. John Belton, The Hollywood Professionals Volume 3: Howard Hawks, Frank Borzage, Edgar G. Ulmer (London: The Tantivy Press, 1974), 161. 37. Belton, The Hollywood Professionals, 161. 38. Belton, “Prisoners of Paranoia,” 17. 39. Belton, The Hollywood Professionals, 162. 40. Belton, The Hollywood Professionals, 162.
31 If sexploitation films were detours in Ulmer’s directorial career, he glorified their purpose by making them self-sufficient morality tales showcasing the persistence, conviction, and strength of their protagonists. These films do not highlight the psychological frailties and cosmological vulnerabilities of individuals governed by cruel fates, as some critics have claimed, but, rather, reveal how individuals heroically respond with conviction and bravery to those fates. As Gallagher writes: “Despite Belton’s contention that ‘the archetypal Ulmerian situation consists of one or more characters helplessly trapped in a hostile, unfamiliar setting .