Search

The article examines the figure of the 'lost child' in feature films of the immediate post-war period. The figure's enormous symbolic value as innocent victim and future generation granted the 'lost child' a key position in post-war discourse, including films which tried to grapple with the moral and physical destruction of the continent after 1945. National film industries, particularly of the perpetrator nations, employed the 'lost child' for genre stories in which the post-war chaos is being mastered and a new, masculine national self is re-built. However, films made by victim groups outside a national context rely on the 'lost child' to broach the destruction of their identity by war and persecution. Analysing two films, Fred Zinnemann's The Search (1948) and Natan Gross's Unzere Kinder (1948), I argue that both use the child figure to deal with traumatization as part of the reconstruction of communal and intergenerational relations. This does not result in stories of masculine mastery but in narratives that incorporate moments of trauma process emerging around destroyed mother–child relations. The films, encoding traumatization in film language, develop a rich cinematic language along questions of identity and form an early instance of post-traumatic cinema. [ABSTRACT FROM AUTHOR]

An analysis is presented for several films directed by Fred Zinnemann including "Act of Violence," "From Here to Eternity," and "The Search." It examines the theme of patriotism in the films as well as the symbolic aspects of the American flag featured in the films.

The Search , Fred Zinnemann's 1948 film about displaced and orphaned children, has long sat on the periphery of Holocaust film. Although it has an important Jewish character—a boy who survived the war by hiding his identity—the heart of the film centers on a non-Jewish child. However, the film's explicitly Jewish material is only the most visible aspect of its interest in Jewish children and the Holocaust. To a large extent, the film's efforts to address the Holocaust are submerged—or, more accurately, became submerged over the course of its production. Drawing on a rich body of sources, this essay revisits The Search 's treatment of the Holocaust, examining how the film openly addresses the murder of European Jewry and how it elides and suppresses this history. [ABSTRACT FROM AUTHOR]

In the article, the author discusses topics like film noir heroes and American ideology by examining the 1949 film "Act of Violence," directed by Fred Zinnemann. The film starred Van Heflin, Robert Ryan. Also cited are the American ideology of fatalism, social Darwinism, and enlightenment utilitarianism as described by author Ken Hillis, and the struggle to maintain moral virtue and gain upward social mobility in the film.

USA Director Fred Zinnemann Runtime 85 minutes DVD USA, 2008 Distributed by Lionsgate (region 1) [ABSTRACT FROM AUTHOR]

Multiple but ultimately unsanctioned desires brought Fred Zinnemann's film The Nun's Story (1959) into being. The traces of those desires and their abnegation reside both on the level of narrative and, most provocatively, in the visual testimony that the film provides for them. Departing from previous scholarship and exploring the film for its historiographic challenges and spectatorial implications for the gendered and sexualised subject, this essay reaches beyond demonstrating the myriad ways that the Production Code by the late 1950s had trained directors and spectators to find queer sexuality in allusion and subtext. Drawing on psychoanalysis and affect theory, this article examines the reception of Kathryn Hulme's 1956 book on which the film is based as context for the film's subsequent formal production history and cinematic specificities. [ABSTRACT FROM AUTHOR]

This article considers the representation of gendered disability in The Men (Fred Zinnemann, 1950), Marlon Brando's first film. A groundbreaking yet deeply ambiguous text, the film explores notions of normative and non-normative physicality through the lens of masculinity, sexuality, and their implications for human status. In the light of key works by disability scholars and of Judith Butler's discussion of the cultural construction of the body, this article examines the multiple and subversive meanings made available by the film, and the extent to which The Men allows for a different bodily identity based on dissent. [ABSTRACT FROM AUTHOR]

This study is a close examination of The Nun's Story (Fred Zinnemann, 1959) and The Sins of Rachel Cade (Gordon Douglas, 1961), two Warner Bros. productions adapted, respectively, from a Catholic- and a Protestant-themed bestseller. The novels' similarity in subject and setting is as striking as the differences in their manner of production. Utilizing archival research, this analysis reveals Production Code Administration negotiations with producers and religious officials to be a crucible of concerns about aesthetics, religion, and market access, while also highlighting religious principles and crucial differences in Catholic and Protestant approaches to movie regulation when the Production Code era was showing its first signs of decline. [ABSTRACT FROM AUTHOR]

A film critique is presented for the 1952 Western "High Noon," created by Fred Zinneman, focusing on the depiction of the region of the Western frontier of the U.S., hotels in that context, and the Mexican female body as decolonial spaces. Focus is given to the character of Helen Ramirez and her social dynamics with the protagonist of Marshal Will Kane, as well as her residence in a Western hotel.

A critique is presented of the film "High Noon" directed by Fred Zinnemann, focusing on critics' attitudes toward Western films and the film's allegorical allusions to the U.S. House Un-American Activities Committee's (HUAC's) search for Communists in the 1950s. Western themes of individualism, criticism of the film by actor John Wayne and director Howard Hawks, and screenwriter Carl Foreman are also mentioned.

In the years immediately following World War II, American filmmakers contemplating foreign locations encountered massive logistical problems and ideological resistance from studio bosses. Fred Zinnemann was the first major filmmaker to be invited by UNRRA (The United Nations Relief and Rehabilitation Administration) and the US military to interview child survivors of the Holocaust held in camps in occupied Germany in 1946-47. Together with David and Lazar Wechsler and screenwriter Richard Schweizer, he created The Search, a film that defined the limits of historicizing the Holocaust and 'voicing' the past in an international context. This article, based on previously unexamined documents in Zinnemann's archive, reconstructs the production, research, and adaptation of The Search, and reveals the core of Zinnemann's lifelong commitment to documenting the war and its legacy. More than any other Hollywood-European collaboration, The Search represented the complexities of an international film vision in the postwar era. [ABSTRACT FROM AUTHOR]

The writer Anna Seghers and filmmaker Fred Zinnemann both depict the erosion of the human condition in Nazi Germany. This discussion focuses on the divergence of narrative style and imagery in their respective works; the variance is not only due to the different media, book and film, but also to their two differing social environments (French exile and America during WWII) which resulted in two different discernments of the effects of political events in Nazi Germany. While the book examines a people's diverse and complicated response to Nazi intrusion into their individual lives and community, the film creates the story of one escapee whose inner strengths triumph over Nazi power with the help of others in the German community. The difference in representation in the two works reflects conflicting ideas of historical understanding: the film accepts the idea of a coherent, heroic, and teleological sequence while the novel, like Benjamin's "Angel of History", sees the past as an idiosyncratic and shifting narrative of fragmented and contradicting experiences. [ABSTRACT FROM AUTHOR]

The author examines the history of Fred Zinnemann's The Search, illustrating some of the profitable contributions that production histories can offer to notions of authorship, industry, and meaning-making practices. Specifically, by rediscovering Peter Viertel's role in the production of The Search, the author recovers an important part of The Search's past and, in the process, demonstrates that the film served as a site of ideological contestation on the nature of postwar Germany. [ABSTRACT FROM AUTHOR]

The article focuses on the representation of land in the musical film "Oklahoma!" directed by Fred Zinnemann. Farming communities recognize a great difference in status between a family that farms its own land and one that just rents or simply hires out its labor even if the actual incomes involved might be the same. The women in "Oklahoma!" need men on the farm because there are some jobs that women simply could not do in 1907 and the men demand economic concessions. In order for men to reach their mature civilized state as farmers and property owners they must emerge from their earlier pre-civilized state as cowboys, moving over the land but not rooted to it, cultivating it or owning it. To illustrate, almost all the men in the movie "Oklahoma!" are cowboys. The regulation of sexuality is one of the most interesting and entertaining themes in "Oklahoma!" and is explored through the actions and desires of all the main characters especially the contrasting behavior of Laurie Williams and the second female lead Ado Annie.

This article analyzes the film, High Noon, directed by Fred Zinneman, which concerned transformations in the U.S. popular political culture during the Cold War. Allegedly, the film was a landmark artifact of the U.S. popular political culture of the Cold War. Screenwriter Carl Foreman intended the film as a commentary on motion picture industry capitulation to the House Un-American Activities Committee. Zinneman and actor Gary Cooper allegedly saw the film as a work about the nobility of the individual in the face of a failure of public morality. John Wayne, the film star and conservative archetype of the period, apparently declared the film un-American. In addition, one scholar has characterized the film as catering to ideological extremists and challenging the vital center. The varied readings of the film, coupled with its critical and commercial success, spawned a sub-genre of politically self-conscious westerns, treating the nature of the U.S. community, the role of the individual within it, and the responsibilities of citizenship and of power, all within a tale of the lone lawman defending a town from a gang of cut-throats. In short, the film became a cinematic and ideological touch-stone against which other directors sought to define their own position and visions of the proper role of the individual in the U.S. society.

An interview with film director Fred Zinnemann is presented. He considers the difference between the films "High Noon" and "The Day of the Jackal." He admits that he has the psychology of an artist and the talent of a craftsman. He believes the men in the film "High Noon" speculate too much and the women follow their emotions.

The article reviews the motion picture "The Search," produced by Fred Zinnemann.

The article discusses the significance of the films produced by Vienna-born Fred Zinnemann in the 19th century in the U.S. According to the author, Zinnemann's films especially "The Nun's Story" in 1951 and "High Noon" in 1952 are characterized by an unshaken belief in human dignity, a realist aesthetic, and a preoccupation with moral and social issues. Zinnemann's films also are significant to people since they are characterized by a warm and sympathetic treatment of character, an expert handling of actors, and a meticulous attention to detail.

The article lists several motion pictures produced by filmmaker Fred Zinnemann including "A Friend Indeed" in 1938, "Weather Wizard" in 1939, and "The Old South" in 1940.

An essay is presented which discusses the mythic women figures in some of the films of Fred Zinnemann in the U.S. It explores the Zinnemann's films including "The Member of the Wedding," "The Sundowners," and "The Nun's Story." It also emphasizes the concept of myth which is concerned with action based on belief in equality, social justice, community, and great leadership.

The article explores the use of historical facts and real-life references in the films of Fred Zinnemann including "The Search," "From Here to Eternity," "Behold a Pale Horse," and "The Day of the Jackal." According to the author, the historical facts and situation of the films refer to etic references which include events, characters, institutions which have a real-life existence outside the system of the fictional world in which they appear. In addition, these films belong to the works of Zinnemann which show a distinct preference for fictions inspired by historical facts.

The article looks at the actors and actresses who performed in the motion pictures produced by filmmaker Fred Zinnemann in the U.S. Some performers of Zinnemann films include Deborah Kerr who excelled in "The Innocents" in 1961 and "The Sundowners and Karen Holmes as the captain's wife in the "From Here to Eternity," According to the author, Kerr's performance is the most eloquent and moving example in the picture of the reluctant emotion of rough and ready outbackers. Other performers include Eva Marie Saint in "A Hatful of Rain" and Lloyd Bridge in "High Noon."

The article examines the spirituality and style in the production of the film "The Nun's Story" in 1959 by Fred Zinnemann. According to the author, the film's religious subject and preoccupation of society and politics in the motion picture industry caused the film to prevent receiving the critical attention it deserves especially from film scholars. In addition, the film is described as an unwitting allegory of the demise of conventional secular marriage and the old-age female conflict between service to the self and surrender of the self to male order.

The article presents an interview with filmmaker Fred Zinnemann in London, England. When asked about the role of a film director in filmmaking, Zinnemann said that film director is the only man who had the central vision of a film. He explained that his own idea of being a film's director is comparable to being a chef in a restaurant. He added that as a film's director, he works by intuition and instinct and not by analysis.

The article discusses the famous target practice in the motion picture "The Day of the Jackal," produced in 1973 by Fred Zinnemann in the U.S. According to the author, the target practice which features the attempt to assassinate the film's character French President Charles de Gaulle has led film reviewers to compliment Zinnemann's technical proficiency. In addition, the film reminds reviewers about the evanescence and fragility of human character when the true identity of the man called the Jackal, himself assassinated remains a mystery he takes to the grave.

The article demonstrates how the complex split narrative of the film "High Noon," by Fred Zinnemann explains the film's major two women characters including a Quaker woman and a Mexican-American woman. The women in the film surprise the film's viewer with their ability to survive in the narrative and maturity in dealing with their life principles. However, film critic Helen Ramirez said that the film voices a strong subtext against male power and violence against women and embodies the violent and reductive truth.

The article examines the design and themes of the film "High Noon" based on the life, personality, and social aims of its director Fred Zinnemann in the U.S. According to the author, the design and themes of the film were influenced by several factors including the Zinnemann's European background and influences, his emphasis upon socially-cognizant filmmaking, and the significance of his contributions to the film's visual design. He added that Zinnemann valued the connection between independent production and social realism.

The article discusses the history of the early years of film director Fred Zinnemann and analyzes the stylization, social criticism, and documentary realism in his film "Act of Violence" in London, England. According to film historian Ephraim Katz, Zinnemann finished a master's degree in laws from the University of Vienna but abandoned his plans for legal career and decided to work with filmmakers. Zinnemann's film "Act of Violence" attempts to capitalize on every aspect of technical professionalism in Hollywood.

The article examines the dimensions of blindness in the film "Eyes in the Night," produced by filmmaker Fred Zinnemann in 1942. According to the author, the literal blindness in the film is bound up with its literary genesis, history of production, and critical reception based on the book "The Odor of Violets" by Baynard Kendrick. In addition, the use of figurative blindness in the film plays a role in the movie's suggestion of dangerous blind allegiances to foreign powers and the demonstrated ability to see things that others do not.

The article focuses on the realistic aspects of the film "High Noon," directed by Fred Zinnemann. The film depicts western hero fights and features the frontier marshal Will Kane who must preserve his honor by facing the man he has sent to jail and has been aiming revenge against him. It also discusses some aspects of the film which include the marshal's relationship with his wife and his ex-mistress and the shoot-out between the hero and the villains in the town's main street. Moreover, it looks into Robert Warshow's comments on the movie and cites that he disliked its excessive realism, social drama and anti-populism. It is noted that though the movie does not contain conventionalized elements, Zinneman has brought realistic details to the movie which makes it an exceptional achievement.

Discusses the portrayal of a first person point of view of author Lilian Hellman in the 1977 film adaptation 'Julia,' directed by Fred Zinneman and Alvin Sargent. Narrative style of the motion picture; Criticism on the film; Images of the film.

An interview with film director Fred Zinnemann is presented. He believes that F. W. Murnau is the greatest among the emerging directors in the Golden Age of German cinema. He states that the black-and-white photography helps him in making the war scenes in his movie with an authentic look. His goal is entertaining and diverting a large popular audience.