Books/Videos

Girgus, Sam B.

Hollywood renaissance : the cinema of democracy in the era of Ford, Capra, and Kazan / Sam B. Girgus. Cambridge, UK ; New York : Cambridge University Press, 1998.

--Main Stack PN1993.5.U6.G497 1998Girgus, Sam B., 1941-

Jones, David Richard.

Great directors at work : Stanislavsky, Brecht, Kazan, Brook Berkeley : University of California Press, c1986.

--MAIN: PN2053 .J621 1986

--Moffitt PN2053 .J621 1986

Kantor, Bernard R.; Blacker, Irwin R.; Kramer, Anne.

"Interview with Elia Kazan."

In: Focus on film and theatre. Englewood Cliffs, N.J., Prentice-Hall [1974] (Series: Film focus) (Series: A Spectrum book)

--Moffitt PN1995.H87

--Main Stack PN1995.H871

Kazan, Elia.

Elia Kazan : a life. New York : Knopf, 1988.

--MAIN:PN1998.3.K39 A31 1988

--Moffitt: PN1998.3.K39 A31 1988

--Available online via Google books

Kazan, Elia.

"The hyphenated Americans." In: Film-makers on film-making / edited by John Boorman and Walter Donohue. London : Faber and Faber, 1996. Projections (London, England) ; 5.

--Main Stack PN1994.F43912 1996

Kazan, Elia.

Elia Kazan : interviews. Jackson : University Press of Mississippi, c2000.

--GRDS: PN1998.3.K39 A5 2000; Non-circulating; may be used only in Graduate Services

--MAIN: PN1998.3.K39 A5 2000

Kazan, Elia.

Kazan on Kazan New York, Viking Press [1974]

--Moffitt PN1998.A3 K345

Kazan, Elia.

Kazan on Kazan [interviews with] Michel Ciment. London, Secker and Warburg [for] the British Film Institute, 1973.

--MAIN: PN1993 .C45 v.26

Kazan, Elia.

Kazan : the master director discusses his films : interviews with Elia Kazan. New York : Newmarket Press, c1999.

--MAIN: PN1998.3.K39 A5 1999

--MOFF: PN1998.3.K39 A5 1999

Michaels, Lloyd.

Elia Kazan : a guide to references and resources Boston, Mass. : G.K. Hall, c1985.

--MAIN: PN1998.A3 K385 1985

Morgan, Thomas Bruce

"Elia Kazan: Elia Kazan's great expectations." In: Self-creations: 13 impersonalities [by] Thomas B. Morgan. [1st ed.] New York, Holt, Rinehart and Winston [1965]

--Main Stack E747.M725

Murphy, Brenda.

Tennessee Williams and Elia Kazan : a collaboration in the theatre Cambridge [England] ; New York : Cambridge University Press, 1992.

--MAIN: PS3545.I5365 Z78 1992

--Available online via Google books

"This is a book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelled by a deep personal affinity that endured until Williams’s death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America’s greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-war era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests alternative ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions." [publisher's description]

Pauly, Thomas H.

An American odyssey : Elia Kazan and American culture Published: Philadelphia : Temple University Press, 1983.

--MAIN: PN1998.A3 K356 1983

--Moffitt PN1998.A3 K356 1983

Schickel, Richard.

Elia Kazan : a biography New York : HarperCollins Publishers, c2005.

--MAIN: PN1998.3.K39 S35 2005

--MOFF: PN1998.3.K39 S35 2005

Tailleur, Roger. Elia Kazan. [Paris] Seghers [1971]

--MAIN: PN1993 .C4 v.36 1971; Storage Info: $D 60 050

Tailleur, Roger. Elia Kazan. [Paris] : Editions Seghers, [1966].

--MAIN:MAIN: PN1993 .C4 v.36

Journal Articles

Atkinson, Michael

"The Anti-Kazan." The Village Voice 44:11: [23 March 1999] p. 42

"Discusses the career of film director Abraham Polonsky, comparing it against Elia Kazan's Oscar for lifetime achievement and noting that Polonsky is not receiving an award for a career he "didn't have because of the blacklist." States Polonsky's talent is arguably "American film's greatest HUAC loss," and briefly recalls Polonsky's education and short career, including the "sublime" film "Force of Evil." Further asserts that Polonsky made two more films in the 1970s, but is known mostly as Kazan's antithesis, the director who "surrendered his career rather than surrender his friends." Quotes Polonsky on the subject of Kazan: "I wouldn't want to be buried in the same cemetery with the guy." " [International Index to the Peforming Arts]

Bernstein, Richard .

"Kazan and his critics: reliving a bitter debate from the McCarthy era." (Elia Kazan) The New York Times May 3, 1988 v137 p15(N) pC15(L) col 4 (20 col in)

Bewley, Geoffrey

False Witches, Real Reds." Quadrant July 2000 p91 (4077 words)

UC users only p>

Biskind, Peter.

"I Confess, I Confess." Grand Street. 8(1):199-208. 1988 Autumn p>

Bowman, James.

"Loyalty Tests." (Anti-Communist hero Elia Kazan)American Spectator v32, n3 (March, 1999):68 (2 pages).

Anti-Communist hero Elia Kazan believes that being ideologically correct is more important than being loyal. Kazan's belief has been adopted by some Hollywood movies such as the film 'A Civil Action.'

Braudy, Leo.

"'No Body's Perfect': Method Acting and 50s Culture." Michigan Quarterly Review. 35(1):191-215. 1996 Winter

Butler, Terence

"Polonsky and Kazan: HUAC and the violation of personality." (Abraham Polonsky, Elia Kazan and the House Unamerican Activities Committee) Sight and Sound Autumn 1988 v57 n4 p262(6)

Changas, E.

"Elia Kazan's America." Film Comment Vol VIII nr 2 (Summer 1972); p 8-14

Discusses the paradoxical view of the USA seen in E.K.'s films and how this reflects changing social attitudes in the country.

Ciment, Michel (ed. and introd.)

"Elia Kazan." Positif: Revue Mensuelle de Cinema, vol. 518, pp. 80-104, Spring 2004

Ciment, Michel

"Elia Kazan et Marlon Brando: Les Champs magnétiques." Positif: Revue Mensuelle de Cinema, vol. 533-534, pp. 19-24, Summer 2005

"Conversation: Director Elia Kazan, telling all without regrets."

US News and World Report 104:22 (1988:June 6) 55

Dowd, Maureen

"Streetcar named betrayal; blacklist black tie at the Oscars." (Column) The New York Times Feb 24, 1999 pA21(L) col 6 (16 col in)

"Few directors are as admired." (items include Elia Kazan receiving an honorary Academy Award, at the age of 89, despite his controversial 1952 testimony before the House Committee on Un-American Activities; other items are also included)(Brief Article) U.S. News & World Report Feb 1, 1999 v126 i4 p16(1) (435 words)

UC users only

Foreman, Amanda; Foreman, Jonathan.

"Our Dad Was No Commie." (director Elia Kazan's winning of the 1999 Oscar Lifetime Achievement award)(filmmaker Carl Foreman) New Statesman (1996) v129, n4429 (March 26, 1999):20 (2 pages).

UC users only

Kazan's 1999 honorary Oscar award has raised the hackles of the families of those he 'named' before the House Un-American Activities Committee during the McCarthy witchhunt of 1954. Blacklisted and banned from making movies, former filmmaker Carl Foreman was among those he identified as former Communists, which ruined his career for good.

Kazan's 1999 honorary Oscar award has raised the hackles of the families of those he 'named' before the House Un-American Activities Committee during the McCarthy witchhunt of 1954. Blacklisted and banned from making movies, former filmmaker Carl Foreman was among those he identified as former Communists, which ruined his career for good.

Gabler, Neal.

"Why the drama never ends." (honorary Academy Award for Elia Kazan, who once named names of Communist members to the House)(Column) Los Angeles Times (Sun, March 21, 1999):M1, col 1, 31 col in.

Georgakas, Dan.

"Don't Call Him 'Gadget': A Reconsideration of Elia Kazan." Cineaste. 16(4):4-7. 1988

Goldstein, Patrick.

"Film director Elia Kazan to receive Oscar, foregiveness." Los Angeles Times (Fri, Jan 15, 1999):A1, col 2, 41 col in.

Goldstein, Patrick.

"A fateful decision, damaging fallout." (decision to give lifetime achievement award to director and 'red scare' informant Elia Kazan at 1999 Academy Awards)

Goldstein, Patrick.

"Many refuse to clap as Kazan receives Oscar." Los Angeles Times (Mon, March 22, 1999):A1, col 4, 27 col in.

Hoberman, J.

"A Snitch in Time: Elia Kazan is Getting an Oscar for Lifetime Achievement, But His Career Performance Was Informing on Old Comrades." The Village Voice 44:11 [23 March 1999] p.36-38, 41-42

"Researches the career of actor and director Elia Kazan, focusing on the lifetime achievement award he will receive at the 1999 Academy Awards and the controversy surrounding Kazan's voluntary appearance before the House Committee on Un-American Activities (HUAC) to inform on onetime Communist associates in the movie industry. Recalls that Kazan was named as a Communist in 1947, and traces HUAC's other prominent Hollywood targets. States that Kazan was subpoenaed by HUAC in early 1952, after which "The Hollywood Reporter" printed the story that Kazan had "confessed Commie membership." Further states that Kazan returned to HUAC in April 1952 and named eight persons as Communists. Looks back to the circumstances in which Kazan gave this information, noting that "by his own account," he "thrived on alternating secrecy and disclosure, rebellion and compliance." Touches on themes of betrayal in Kazan's later work as well as the symbolic import of HUAC's interrogations and the Hollywood blacklist. Includes a sidebar, "A Jury of His Peers," offering comments from Hollywood contemporaries on Kazan's behavior." [International Index to the Performing Arts]

"Hollywood Dispatch." (Elia Kazan to recieve Academy Award) The New Republic April 5, 1999 p13(1) (1452 words)

"Filmmaker Elia Kazan has produced a number of notable movies and he is slated to receive a lifetime achievement award at the 1999 Academy Awards. There has been some controversy surrounding his nomination as Kazan testified to the House Un-American Activities Committee in 1952 about the activities of other filmmakers who then had difficulty finding work." [Expanded Academic Index]

"Hollywood's long memory." (of Elia Kazan's testimony before the House Committee on Un-American Activities)(Editorial) The New York Times Jan 19, 1997 v146 s4 pE14(N) pE14(L) col 1 (11 col in)

Kazan, Elia.

"Dialogue on film: Elia Kazan." American Film Vol I nr 5 (Mar 1976); p 33-48

Director E.K. talks about his films and career.

Kitses, Jim

"Elia Kazan: a structural analysis." Cinema Vol VII nr 3(32) (Winter 1972-73); p 25-36

Discusses E.K.'s development as a director with special reference to theme, and to the psychological and social roles and actions of characters. Includes biographical material.

Koch, Jim

"Relishing the role of outsider." (at home with film director Elia Kazan) The New York Times August 24, 1995 v144 pC1(L) col 4 (32 col in)

Koehler, Robert.

"Kazan's HUAC testimony a permanent black mark." (Filmmaker Elia Kazan and Academy participation in blacklisting)(Brief Article) Variety v374, n2 (March 1, 1999):48 (1 page).

UC users only

Koehler, Robert.

"One from the heart."Variety Vol CCCLXXIV nr 2 (Mar 1 1999); p 48-54,60

UC users only

An appraisal of the director's career on the occasion of his honorary Oscar presentation; also notes the protests against this due to his stand taken during the era of blacklisting within the US film industry.

Marty, Martin E.

"Elia Kazan: can 'naming names' be the one unforgivable sin?" (Column) Los Angeles Times v116 (Mon, Jan 27, 1997):M1, col 1, 30 col in.

Meroney, John.

"Kazan's honor." (Elia Kazan and the blacklisting entertainment industry personalities)(Column) Washington Post (Sat, March 20, 1999):A19, col 5, 19 col in.

Michaels, Lloyd.

"Elia Kazan: A Retrospective." Film Criticism. 10(1):32-46. 1985 Fall

Discusses the major themes and characteristics of E.K.'s films

Moore, Daniel S.

"Arriving at the truth: actors and directors on their wavelength share some goals." (Spotlight - Eye on the Oscars: Actors) Variety, Jan 6, 1997 v365 n9 p175(2)

Actors and directors can form extraordinary bonds resulting in performances that simply demand Oscar recognition. The careers of 'actor's directors' such as Elia Kazan, Ed Zwick, John Cassavetes, and Robert Redford, are analyzed.

Nangle, John

"Elia Kazan Tribute." Films in Review 38:4 (1987:Apr.) 224

Navasky, Victor S.

"The Oscar No One Will Win." (honorary Academy Award for the controversial Elia Kazan)(Brief Article) Newsweek v133, n12 (March 22, 1999):72 (1 page).

UC users only

Neve, Brian.

"Elia Kazan's first testimony to the House Committee on Un-American Activities, executive session, 14 January 1952." Historical Journal of Film, Radio and Television 25.2 (June 2005): 251(22).

"Elia Kazan's testimony to the House Committee on Un-American Activities is based on the record of the second of his two appearances before the Committee in the year 1952. The Kazan controversy has, in an age of much historical ignorance, encouraged serious debate about the past and questioned schematic and often romantic notions of that period's heroes and villains that influenced anticommunist film projects." [Expanded Academic Index]

"Question Of Honor: A special Oscar for director Elia Kazan brings his bitter critics back to the barricades." (Controversy)(Brief Article) People Weekly March 29, 1999 v51 i11 p95+(1) (1007 words)

UC users only

Rothman, Cliff.

"Shud He Have Been a Contendah?" (Elia Kazan) Nation v268, n13 (April 5, 1999):57 (1 page).

UC users only

"The decision of the Academy of Motion Picture Arts and Sciences to award Elia Kazan the lifetime achievement award, despite Kazan's alleged involvement in naming communists in the entertainment industry is examined. In the era of Linda Tripp some appear more willing to understand Kazan's conduct, though others who were affected by Kazan's disclosures are not so forgiving." [Expanded Academic Index]

Rothstein, Edward.

"On naming the names in life and in art." (director Elia Kazan is still pigeon-holed, scorned, for having cooperated with anti-Communist investigations by Sen. Joseph McCarthy, despite the quality of his... New York Times v146 (Mon, Jan 27, 1997):B1(N), C13(L), col 1, 27 col in.

Schickel, Richard .

"An Oscar For Elia: Our critic makes the case for a controversial but great director." (The Arts/Cinema)(filmmaker Elia Kazan) Time March 8, 1999 v153 i9 p72+(1) (1544 words)

UC users only

"The Academy of Motion Picture Arts and Sciences is consider honoring filmmaker Elia Kazan with an honorary Oscar. The action has caused a stir in Hollywood because Kazan reported showbusiness names to the House Un-American Activities Committee during the 1950s, which subsequently blacklisted alleged communists. Kazan is unrepentant. Yet Kazan has made a significant impact on the motion picture medium."[Expanded Academic Index]

Schlesinger, Arthur M. Jr.

"Hollywood hypocrisy: if Elia Kazan had exposed Nazis, would he have been condemned? " (controversial director to receive award from Academy of Motion Picture Arts and Sciences) The New York Times Feb 28, 1999 s4 pWK19(L) col 2 (18 col in)

Shelton, Lewis E.

"Elia Kazan and the Psychological Perspective on Directing." The Journal of American Drama and Theatre 14:3 [Fall 2002] p. 60-88

Steyn, Mark

"Persecution mania." (Film director Elia Kazan up for Oscar award)Spectator March 6, 1999 p13(2)

Film director Elia Kazan is up for the 'lifetime achievement' award at the 1999 Oscars. The move is expected to provoke protest by a number of organisations including the California Association of Professional Scientists, the Committee Against Silence, and the National Alliance Against Racist and Political Repression. Kazan continues to be criticised for divulging details of members of the Communist party.

Tailleur, Roger; Bessie, Alvah Translator

"Elia Kazan and The House Un-American Activities Committee." Film Comment 4:1 (1966:Fall) 43

Waxman, Sharon.

"For Eliz Kazan, a contentious moment of glory; blacklist meets A-list." (Academy Awards ceremony) Washington Post (Mon, March 22, 1999):C1, col 1, 19 col in.

Waxman, Sharon.

"Reelpolitik at the Oscars; honor for Elia Kazan stirs up those blacklisted in McCarthy era." Washington Post (Thu, Feb 25, 1999):C1, col 5, 25 col in.

Weinraub, Bernard.

"Amid protests, Elia Kazan receives his Oscar." (Living Arts Pages) New York Times (Mon, March 22, 1999):B3(N), E3(L), col 1, 13 col in.

Weinraub, Bernard.

"From the days of McCarthy, a lingering chill." (American Film Institute passes up Elia Kazan for lifetime achievement award; Senator Joseph McCarthy) (Living Arts Pages) New York Times v146 (Thu, Jan 16, 1997):B1(N), C15(L), col 1, 39 col in.

Weinraub, Bernard.

"Naming names part II." (Writers Guild of America restores names of blacklisted writers to motion pictures produced during era of political persecution) The New York Times April 6, 1997 v146 s4 pE2(N) pE2(L) col 3 (7 col in)

Weinraub, Bernard.

"Time frees the Hollywood one." (honorary Academy Award to be given to Elia Kazan, who was blacklisted during the McCarthy-era) New York Times, sec4 (sun, Jan 24, 1999):WK1(L), col 2, 20 col in.

Wheatcroft, Geoffrey.

"The waterfront all over again; he told the truth. They lied for communism. And he's the bad guy?" (controversy over special Academy Award for Elia Kazan)(Column) Wall Street Journal (Fri, March 19, 1999):W17(E), col 4, 22 col in.

Wood, Daniel B.

"This time, controversy isn't behind the scenes." (director Elia Kazan, who turned-in peers during the 1950s Communist scare, to receive 'lifetime achievement' award at 1999 Academy Awards) Christian Science Monitor v91, n78 (Fri, March 19, 1999):1, col 2, 27 col in.

Obituaries Abel, Olivia

"The Brilliant Turncoat: Elia Kazan b. 1909." (Passages/Tribute)(Brief Article)(Obituary) People Weekly Oct 13, 2003 v60 i15 p93 (225 words)

UC users only

Cohen, David S.

"Obituaries: Kazan Was Actor's Helmer." Variety 392:8 [6 October 2003-12 October 2003] p. 101, 104

Corliss, Richard

"Milestones." (Notebook)(director Elia Kazan)(Brief Article)(Obituary) Time Oct 13, 2003 v162 i15 p24 (295 words)

UC users only

Rothstein, Mervyn .

"Elia Kazan, Influential Director, Is Dead at 94." (The Arts/Cultural Desk)(Obituary) The New York Times Sept 29, 2003 pA1 col 02 (78 col in)

Scott, A.O.

"Method Man: Kazan's Landscape of Desire." (The Arts/Cultural Desk)(a look at the contradictory career and films of the late Elia Kazan) The New York Times Sept 30, 2003 pE1 col 01

Steyn, Mark

"The crucible of Hollywood's guilt: Elia Kazan (1909-2003)." (Post Mortem)(Obituary) The Atlantic Monthly Dec 2003 v292 i5 p38(2)

UC users only

Steyn, Mark

"Defined by 1952." (Cinema)(Donald O'Connor, Elia Kazan)(Obituary) Spectator Oct 4, 2003 v293 i9139 p66(1) (1058 words)

UC users only

Vanmeenen, Karen

"Elia Kazan, 1909-2003." (Obituaries) Afterimage Nov-Dec 2003 v31 i3 p2(1)

UC users only

Yacowar, Maurice

"Elia Kazan (1909-2003)." (Obituary) Queen's Quarterly Winter 2003 v110 i4 p535(6)

UC users only

Articles and Books on Individual films

America America

Neve, Brian

"The immigrant experience on film: Kazan's America America." Film & History Vol XVII nr 3 (Sept 1987); p 62-68

Critical notes on Elia Kazan's treatment of the immigrant in the USA: "America, America".

Baby Doll

Brook, Vincent.

"Courting Controversy: The Making and Selling of Baby Doll and the Demise of the Production Code." Quarterly Review of Film & Video. 18(4):347-60. 2001 Oct

Kolin, Philip C.

"Civil Rights and the Black Presence in Baby Doll." Literature-Film Quarterly. 24(1):2-11. 1996

" 'Baby Doll' was released in 1956 accompanied by furor over its sexual content, but the racial issues that director Elia Kazan and writer Tennessee Williams addressed in the film were far more subversive and powerful. Black characters are present throughout the film observing what transpires among the primary characters. The bigot Archie progressively loses control over the blacks, and they eventual become insiders with Archie on the outside receiving no respect. Vacarro is allied with the blacks because he is treated poorly for being Italian, and he eventually succeeds in taking everything from Archie." [Expanded Academic Index]

Palmer, Barton.

"Baby Doll: The Success of Scandal." Tennessee Williams Annual Review. 4:29-38. 2001

East of Eden

Ballard, Terry.

"East of Eden." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 12:(no pagination). 2001 Feb-Mar

Lyons, Donald

"Fathers and sons and American cinema." Film Comment Vol XXXIV nr 4 (July-Aug 1998); p 54-61

An investigation of how Hollywood in its heyday looked at fathers, particularly as they related to sons. Four films by Clarence Brown are compared to one by Elia Kazan, "East of Eden".

Morsberger, Robert E.

"East of Eden on Film." Steinbeck Quarterly. 25(1-2):28-42. 1992 Winter-Spring

Rathgeb, Douglas L.

"Kazan as Auteur: The Undiscovered East of Eden." Literature-Film Quarterly. 16(1):31-38. 1988

Simmons, Jerold L.

"The Production Code and Precedent: Or, How Hollywood's Censors Sought to Eliminate Brothels and Prostitutes in From Here to Eternity and East of Eden." Journal of Popular Film & Television. 20(3):70-80. 1992 Fall

A Face in the Crowd

Maloney, Courtney.

"The Faces in Lonesome's Crowd: Imaging the Mass Audience in A Face in the Crowd." Jnt-Journal of Narrative Theory. 29(3):251-77. 1999 Fall

Quart, Leonard.

"A Second Look: A Face in the Crowd." Cineaste. 17(2):30-31. 1989

Yates, J.

"Smart man's burden: 'Nashville', 'A face in the crowd' and popular culture." Journal of Popular Film and Television Vol V nr 1 (1976); p 19-28

A look at two films, made 20 years apart, which deal with US political/moral consciousness.

Gentleman's Agreement

See Images of Jews bibliography

Last Tycoon

Alpert, H. American Film Vol I nr 5 (Mar 1976); p 8-14

"Fitzgerald, Hollywood, and The last tycoon."

Some background information on 'The last tycoon'

Atkins, I.K.

"Hollywood revisited: a sad homecoming." Literature/Film Quarterly Vol V nr 2 (Spring 1977); p 105-111

Describes 'The last tycoon' as an unsuccessful adaptation of the novel

Burkman, Katherine H.; Kim, Mijeong.

"The Tragedy of Illusion: Harold Pinter and The Last Tycoon." In: The films of Harold Pinter / edited by Steven H. Gale. pp: 55-67. Albany : State University of New York Press, c2001. SUNY series, cultural studies in cinema/video.

--Main Stack PR6066.I53.Z6454 2001

Callahan, J.F.

"The unfinished business of the last tycoon." Literature/Film Quarterly Vol VI nr 3 (Summer 1978); p 204-213

Assesses the film adaptation of F. Scott Fitzgerald's 'The last tycoon' and finds it as fragmentary as the original.

Combs, Richard

"The last tycoon." (review)Sight & Sound Vol XLVI nr 2 (Spring 1977); p 124

Cunningham, Frank R.

"F. Scott Fitzgerald and the problem of film adaptation." (Critical Essay) Literature-Film Quarterly July 2000 v28 i3 p187(10)

UC users only

"Issues concerning the manner in which novels can be successfully adapted to the screen are examined, focusing on director Jack Clayton's adaptation of F. Scott Fitzgerald's novel "The Great Gatsby." Topics include performances in the film by Mia Farrow and Robert Redford, the film's construction of Gatsby's illusory world, and film director Elia Kazan's adaptation of Fitzgerald's novel "The Last Tycoon." [Expanded Academic Index]

Gill, Brendan

"Brendan Gill on 'The last tycoon'." Film Comment Vol XIII nr 1 (Jan-Feb 1977); p 44-45

Hudgins, Christopher C.

"The Last Tycoon: Elia Kazan's and Harold Pinter's Unsentimental Hollywood Romance." In: Hollywood on stage : playwrights evaluate the culture industry / edited by Kimball King. pp: 157-83. New York : Garland Pub., 1997. Studies in modern drama.

--Main Stack PS338.M67.H65 1997

Matterson, Stephen.

"A Life in Pictures: Harold Pinter's The Last Tycoon." Literature-Film Quarterly. 27(1):50-54. 1999

Michael, I. Lloyd.

"Auteurism, Creativity, and Entropy in The Last Tycoon." Literature-Film Quarterly. 10(2):110-118. 1982

Auteurism, creativity, and entrophy in The last tycoon. Abstract: Considers the problem of who is the auteur of the film and analyses the filmic text.

Rapf, Joanna E.

"The Last Tycoon or 'A Nickel for the Movies'." Literature-Film Quarterly. 16(2):76-81. 1988

On the failure of the Harold Pinter adaptation of F. Scott Fitzgerald's 'The last tycoon'.

Silver, Charles; Corliss, Mary

"Hollywood under water: Elia Kazan on 'The last tycoon." Film Comment Vol XIII nr 1 (Jan-Feb 1977); p 40-45

On the Waterfront

Biskind, Peter.

"The Politics Of Power In On The Waterfront." Radical America 1976 10(1): 71-83.

Biskind, Peter.

"The politics of power in 'On the waterfront'." Film Quarterly Vol XXIX nr 1 (Autumn 1975); p 25-38

"Elia Kazan used film methods of the 1930's in this work to express political ideologies of the 1950's. The film is covertly strongly anti-Communist in its reliance on personal motivation rather than class consciousness or group solidarity to overcome corrupt and oppressive working conditions. The film presents a portrayal of a society run by technical elites without responsibility for the conditions of the working class." [America History & Life]

Clooney, Nick

"On the Waterfront." In: The movies that changed us : reflections on the screen. New York : Atria Books, c2002.

--Moffitt PN1993.5.U6.C57 2002

Curnutte, Daidria.

"The Politics of Art: Elia Kazan and the Scandal Over On the Waterfront." Film Journal. 1(2):(no pagination). 2002

Hey, Kenneth.

"Ambivalence As A Theme In On The Waterfront (1954): An Interdisciplinary Approach To Film Study." American Quarterly 1979 31(5): 666-696.

UCB users only

"Describes the writing, casting, shooting, and musical score of On the Waterfront in terms of the authors' and artists' own lives and experiences. The primary theme, the ambivalence between good and evil, comes from a series of events in the lives of the director, Elia Kazan, and the writers, Kazan and Budd Schulberg, that resulted in their testifying before the House Committee on Un-American Activities. Their experiences there and their mixed feelings about their acts contributed to the film's persistent ambivalence to both organized law and to mobster crime. Leonard Bernstein's score reinforces this theme, as does the cinematography." [America History & Life]

Hey, Kenneth.

"On The Waterfront: Another Look." Film & History 1979 9(4): 82-86.

"One interpretation of Elia Kazan's film, On the Waterfront (1954), sees it as a model of elitist society in which power in alliance with social engineers and family force social control, and the other views it as a model for the triumph of principles over tyranny." [America History & Life]

Hurley, Neil P.

"On the Waterfront: Rebirth of a 'Contenduh'." In: Image & likeness : religious visions in American film classics / edited by John R. May. pp: 96-103. New York : Paulist Press, c1992. Isaac Hecker studies in religion and American culture.

--Main Stack PN1995.5.I46 1992

Klehr, Harvey, and John Earl Haynes.

"On the Waterfront without a clue: a review essay.(Critical Essay)." Film History 16.4 (Oct 2004): 393. Expanded Academic ASAP. Thomson Gale. UC Berkeley. 16 Nov. 2006

UC users only

Lopate, Phillip

"Homevideo: 'On the Waterfront'". Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 27:2 [Spring 2002] p. 43-44

Maland, Charles J.

"On The Waterfront (1954): Film and the Dilemmas Of American Liberalism in the Mccarthy Era." American Studies in Scandinavia [Norway] 1982 14(2): 107-127.

"The film On the Waterfront represented the political and personal dilemma of its director, Elia Kazan, a noted liberal in the McCarthy era. Kazan rewrote the script shortly after his second testimony before the House Un-American Activities Committee, to whom he identified individuals he knew to be members of the Communist Party before 1937. Shunned by many of his friends in the industry, Kazan worked out his own concerns in the film: to be an artist with a social conscience at a time when criticism of American society was suspect; to maintain the liberal commitment to labor unions when organized labor was politically unpopular; and to resist the Communist menace while suffering the notoriety of being an informer." [America History & Life]

Neve, Brian.

"On The Waterfront." History Today, June 1995 v45 n6 p19(6)

UC users only

"Elia Kazan's 1954 film about the struggle between corrupt unionists and longshoremen informants, 'On the Waterfront,' has been seen by some writers as a naked apology for Kazan and screenwriter Budd Schulberg's informing on communists during the McCarthy period. The film was more than this." [Expanded Academic Index]

Neve, Brian

On the Waterfront." In: The movies as history : visions of the twentieth century / edited by David Ellwood. Stroud : Sutton, 2000.

--Main Stack PN1995.2.M68 2000

Neve, Brian.

"The 1950s: The Case of Elia Kazan and On the Waterfront." In: Cinema, politics and society in America / edited by Philip Davies and Brian Neve Manchester, [Greater Manchester] : Manchester University Press, 1981

--Main Stack PN1995.9.S6.C55

--Main Stack PN1995.9.S6.C5 1981b

--Moffitt PN1995.9.S6.C5 1981

On the waterfront

Edited by Joanna E. Rapf ; foreword by Budd Schulberg. Cambridge ; New York : Cambridge University Press, 2003. Cambridge film handbooks series.

--Table of contents http://www.loc.gov/catdir/toc/cam031/2002034958.html

--Publisher description http://www.loc.gov/catdir/description/cam031/2002034958.html

--Main Stack PN1997.O43.O52 2003

Schulberg, Budd

"Classics: Hoboken Orphan in Hollywood Storm: How "On the Waterfront" Came to the Screen, Finally." Variety [January 1999] p. 40-41, 56, 58

Schulberg, Budd

"The inside story of 'Waterfront.'" (On the Waterfront) The New York Times Jan 6, 1980 v129 s6 p28 col 1 (139 col in)

Schwartz, Stephen.

"Arthur Miller's proletariat: the true stories of On the Waterfront, Pietro Panto, and Vincenzo Longhi." Film History 16.4 (Oct 2004): 378.

UC Berkeley users only "Part of a special section on politics and film. The writer rejects the accusation made by Arthur Miller and his acolytes that The Hook, Miller's unproduced screenplay, was appropriated by director Elia Kazan and screenwriter Budd Schulberg as the basis of On the Waterfront. In truth, The Hook has no more in common with On the Waterfront, in terms of authenticity of observation, quality of writing, or insight into the lives of the working class, than any two genre films have with one another, and the claim that Kazan and Schulberg stole their waterfront labor corruption theme from Miller is ridiculous. The Hook is essentially Stalinist in its treatment of longshoremen as dull clay that can only be shaped by the actions of "leaders," whereas On the Waterfront is more faithful to the ideals of the pre-Stalinist labor movement, and the reality of legitimate union struggles, in depicting longshoremen as real, complicated human beings tragically debased by the conditions of their existence." [Art Index]

Sefcovic, Enid M.I.

"Cultural memory and the cultural legacy of individualism and community in two classic films about labor unions." (Abstract) Critical Studies in Media Communication Sept 2002 v19 i3 p329(23)

"Author's Abstract: COPYRIGHT 2002 Speech Communication Association On the Waterfront and Salt of the Earth are read as epideictics for the experiences of directors Elia Kazan and Herbert Biberman testifying before the House Committee on Un-American activities (HUAC). These films are self-conscious studies of the directors' principles in which union struggles serve as the vehicle for narrative analogies that express differing philosophies about a key tension in the American identity--that between individualism and community. Because these films represent the creation of meanings at two different synchronic sites within the culture, they officer opportunities to inspect how their messages are historically and culturally determined and how they are like, or unlike, the cultural memory of our own time. This rhetorical approach to reading cultural memory investigates the diachrony of contexts, requiring the rhetorical critic to act not only as an archaeologist of the moment of production, but also as a historian of the circulation of texts, and as a contemporary social moralist. Such a multi-layered approach is necessary for understanding the different cultural options and cultural force of On the Waterfront and Salt of the Earth." [Expanded Academic Index]

Shulman, Robert.

"The Cold War On the Waterfront: Arthur Miller's A View From the Bridge and Elia Kazan's On The Waterfront." American Studies in Scandinavia [Denmark] 2003 35(1): 23-37.

Watson, Will.

"The Waterfront's Different": On The Waterfront, The AFL-CIO Merger and the Making of the American Working Class." Citation: Borderlines: Studies in American Culture [Great Britain] 1997 4(3): 234-250.

"Widespread anxieties about the imminent merger of the American Federation of Labor and the Congress of Industrial Organizations informed the antiunion message of Elia Kazan's 1954 film On the Waterfront." [America History & Life]

White, Armond.

"On the Waterfront." Sight & Sound. 13(8):22-24. 2003 Aug

Williams, Tony

""I could've been a contender": the boxing movie's generic instability." (Critical Essay) Quarterly Review of Film and Video, July 2001 v18 i3 p305(15)

Most US motion pictures featuring boxing carry a negative message about the sport although regard individual effort as heroic. Boxing movies simultaneously portray victory for the downtrodden while narrowly defining masculinity as exploiting women and alienating men from their emotions." [Expanded Academic Index]

Panic in the Streets

Danks, Adrian.

"Panic in the Streets." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 2:(no pagination). 2000 Jan

Stern Alexandra Minna; Markel, Howard .

"The Public health service and film noir: a look back at Elia Kazan's Panic in the Streets (1950)." (Viewpoint). Public Health Reports May-June 2003 v118 i3 p178(6)

UC users only

Pinky

Campbell, R.

"The ideology of the social consciousness movie: three films of Darryl F. Zanuck." Quarterly Review of Film Studies Vol III nr 1 (Winter 1978); p 49-71

Examines the function of ideology and the social consciousness film in Hollywood, with special reference to "The grapes of wrath", "Gentleman's agreement", and "Pinky" - all produced by D.F.Z.

Clark, Ginger.

"Cinema of Compromise: Pinky and thePolitics of Post War Film Production."(Elia Kazan's anti-racist film, "Pinky")Western Journal of Black Studies v21, n3 (Fall, 1997):180 (10 pages).

"The moral message of the post World War II film "Pinky" was diluted due to commercial and political pressures. The film is about a light-skinned black woman who must choose to live in the South or the North. The production process created a film with more melodrama and different characters than originally conceived. The film was produced by Daryl Zanuck and directed by Elia Kazan.' [Expanded Academic Index]

Jones, Christopher John.

"Image and Ideology in Kazan's Pinky." Literature-Film Quarterly. 9(2):110-120. 1981

Discusses the film in the context of the US trend toward acceptance of black realism in the cinema.

Kydd, Elspeth.

"'The Ineffaceable Curse of Cain': Racial Marking and Embodiment in Pinky." Camera Obscura. 43:95-121. 2000 Jan

UCB users only

"Analyzes the 1949 Elia Kazan film "Pinky," one of many post-World War II films which treated racism as a social problem - in this case by following the plight of a mulatto woman, Pinky, who, having been educated as a white woman in the North, returns to the South and, after nursing the aging Miss Em, inherits a faded southern plantation house. Argues that "Pinky," like most of the post-war "social problem" films, creates ambiguities rather than offering solutions to the racial problems it depicts. Explains that the film's use of a white actor, Jeanne Crain, to play Pinky, while capturing the sympathies of a white audience, ultimately is problematic in that it visually confirms the importance of race as a social class, while the film's narrative argues that race is no more than a cultural construction. Examines several of the film's scenes, noting that Pinky, respected as a white woman, loses the right to control her own body when she is discovered to be black. Criticizes the film's end - Pinky's inheritence of the mansion - claiming that it reinforces the racial balance of the film by forcing her to identify with the town's black community, rejecting the complex nature of her identity." [International Index to the Performing Arts]

Patton, C.

"White racism/black signs: censorship and images of races relations." Journal of Communication Vol XLV nr 2 (Spring 1995); p 65-77

Examines US censorship of films on the grounds of sacrilege and racial representation, beginning in 1915 with censorship of "The birth of a nation" and ending in 1952 when the US Supreme Court ruled that these were unconstitutional grounds for censorship. Considers two causes celébre, "Pinky" and "Il miracolo" (from "L'amore").

Petty, Miriam J.

"Passing for Horror: Race, Fear, and Elia Kazan's Pinky." Genders, vol. 40, pp. 45 paragraphs, 2004.

Regester, Charlene.

"Miss Em's Voyeuristic Gaze of Pinky-White Desire for Blackness." Popular Culture Review. 14(1):67-85. 2003 Feb

Splendor in the Grass

Hey, K.

"Another look: Splendor in the grass." Film & History Vol XI nr 1 (Feb 1981); p 9-13

On the film as a seedbed for social issues which dominated the 1960's.

Leibman, Nina C.

"Sexual Misdemeanor/Psychoanalytic Felony." Cinema Journal. 26(2):27-38. 1987 Winter

Studies the misappropriation of Freudian theory in Hollywood films dealing with female mental illness, esp. "Lilith", "Splendor in the grass" and "A streetcar named Desire".

Zucker, C.

"Love Hurts: Performance in Elia Kazan's "Splendor in the Grass"." Cineaste v. 31 no. 4 (Fall 2006) p. 18-23

UCB users only

"Part of a supplement on screen acting. Acting in Elia Kazan's 1961 film Splendor in the Grass is examined. This film focuses on the deeply loving but confusing relationship between two post-adolescent high-school students pressurized by puritanical parents who believe that sex is taboo until marriage. Kazan believed strongly in the physical manifestation of the characters in his films. His main credo, which derived from the work of Konstantin Stanislavsky, was the importance of "the action." This means that the actor must determine what the character wants and how this is manifested by his or her behavior throughout the course of the unfolding drama; moreover, the intention or the action of the character must meet an obstacle, for there is no drama without conflict." [Art Index]

Streetcar Named Desire

Bak, John S.

"Recent Trends in Streetcar Criticism." In: A streetcar named Desire : Tennessee Williams (1947), Elia Kazan (1951) / ouvrage dirige par Gilles Menegaldo et Anne-Marie Paquet-Deyris ; Stephanie Alkofer ... [et al.]. Paris : Ellipses, c2003.

--Main Stack PS3545.I5365.S828 2003

Cahir, Linda Costanzo.

"The Artful Rerouting of A Streetcar Named Desire." Literature-Film Quarterly. 22(2):72-77. 1994

"The director Elia Kazan overcame creative obstacles to transform Tennessee Williams' play 'A Streetcar Named Desire' from theater drama to a successful movie. Producers and studio censors prevented any original references to male homosexuality or moral ambiguity on the part of the character Blanche. There was also a clash of acting styles between Vivien Leigh, as Blanche, and the other actors, yet Kazan used the clash as a source of dramatic tension. Kazan changed the ending of the story to satisfy the censors while improving the play's dramatic impact of ambivalent characters." [Expanded Academic Index]

Dowling, Ellen.

"The Derailment of A Streetcar Named Desire." Literature-Film Quarterly. 9(4):233-40. 1981

Gronbeck-Tedesco, John L.

"Absence and the Actor's Body: Marlon Brando's Performance in A Streetcar Named Desire on Stage and in Film." Studies in American Drama, 1945-Present. 8(2):115-26. 1993

Hanks, Pamela Anne.

"Must We Acknowledge What We Mean? The Viewer's Role in Filmed Versions of A Streetcar Named Desire." Journal of Popular Film & Television. 14(3):114-122. 1986 Fall

On the changing nature of female representation in and audience response to the 1951 film and 1984 tv versions of "A streetcar named Desire".

Kang, Taekyeong.

"[Aesthetics and Politics of 'Stanley Kowalski': An Alternative Reading of A Streetcar Named Desire]." Journal of Modern British & American Drama. 15(2):5-36. 2002 Aug

Kauffmann, Stanley

"A Streetcar Named Desire." (movie reviews) The New Republic Nov 29, 1993 v209 n22 p28(2) (1245 words)

UC users only

Leff, Leonard J.

"And Transfer to Cemetery: The Streetcars Named Desire." Film Quarterly. 55(3):29-37. 2002 Spring

"Discusses issues concerning the relationship between authors and texts with respect to two versions of Elia Kazan's adaptation of Tennessee Williams' "A Streetcar Named Desire." Informs that the 1993 reissue restores four minutes of footage that Catholic censors in the Legion of Decency ordered cut from the picture before its original 1951 release. Recounts the censorship history of the feature and details the issues that were deemed objectionable by the Legion and the Production Code Administration, including sexual behavior, rape, and homosexuality. Argues that the original version reveals the contemporary mores and censorship practices of the 1950s and that the release of the 1993 version, which entails the commercial unavailability of the original, constitues an erasure of history." [International Index to the Performing Arts]

Leibman, Nina C.

"Sexual Misdemeanor/Psychoanalytic Felony." Cinema Journal. 26(2):27-38. 1987 Winter

Studies the misappropriation of Freudian theory in Hollywood films dealing with female mental illness, esp. "Lilith", "Splendor in the grass" and "A streetcar named Desire".

Phillips, Gene D.

"Blanche's Phantom Husband: Homosexuality on Stage and Screen." Louisiana Literature: a Review of Literature & Humanities. 14(2):36-47. 1997 Fall

Phillips, Gene D.

"A Streetcar Named Desire: Play and Film." In: Confronting Tennessee William's A streetcar named Desire : essays in critical pluralism / edited by Philip C. Kolin. pp: 223-35. Westport, Conn. : Greenwood Press, 1993. Contributions in drama and theatre studies ; no. 50

--Main Stack PS3545.I5365.S8 1993

--Moffitt PS3545.I5365.S8 1993

Staggs, Sam.

When Blanche met Brando : the scandalous story of "A streetcar named Desire." New York : St. Martin's Press, 2005.

--MAIN: PS3545.I5365 S83 2005

Tennessee Williams and film / Maurice Yacowar. New York: F. Ungar Pub. Co., c1977. Series title: Ungar film library.

--UCB Main PS3545.Wi536 Z98

--UCB Moffitt PS3545.I5365 Z95

Viva Zapata!

Butler, Jeremy G.

"Viva Zapata!: HUAC and the Mexican Revolution." In: The Steinbeck question : new essays in criticism / edited by Donald R. Noble. pp: 239-49. Troy, N.Y. : Whitston Publishing, 1993.

--Main Stack PS3537.T3234.Z85 1993

"Elia Kazan on Zapata." Saturday Review v. 35 (April 5 1952) p. 22

Schoenwald, Jonathan M.

"Rewriting revolution: the origins, production and reception of Viva Zapata!" Film History Vol VIII nr 2 (1996); p 109-130

Documents the history of John Steinbeck's and Elia Kazan's "Viva Zapata!" in terms of the political problems related to telling the story of a revolutionary hero in 1950's America. [FIAF]

Wild River

Black, Brian.

"Authority in the Valley: TVA in Wild River and the Popular Media, 1930-1940." Journal of American Culture. 18(2):1-14. 1995 Summer

"Considers the early history of the Tennessee Valley Authority and its depiction in the print media of the 1930's as well as in Elia Kazan's movie Wild River (1960). The author also comments on the symbolic value of the project, in which the government's power to control the river and exploit its potential was mirrored by its attitudes toward nature and local cultures and populations." [America History & Life]

Chase, Donald

"Watershed: Elia Kazan's Wild River." (1960 film) Film Comment Nov-Dec 1996 v32 n6 p10(6) (3038 words)

UC users only

"'Wild River' did not do well at the box office, but a reexamination of the movie reveals a surprisingly evenhanded treatment of social issues by director Elia Kazan. The film, starring Montgomery Clift and Lee Remick, explored issues surrounding the damming of the Tennessee River." [Expanded Academic Index]

Murray, Robin; Heumann, Joe

"Environmental Catastrophe in Pare Lorentz's The River and Elia Kazan's Wild River: The TVA, Politics, and the Environment." Studies in American Culture, vol. 27, no. 2, pp. 47-65, Fall 2004

White, Judy.

"Sympathy for the Devil: Elia Kazan Looks at the Dark Side of Technological Progress in Wild River." Literature-Film Quarterly. 22(4):227-31. 1994

" Elia Kazan's 1960 film 'Wild River' poses disturbing questions about the govt's right to sacrifice individual souls for the technological benefit of the many. Bureaucrat Chuck Glover seeks to persuade the old farmer Ella Garth to leave her land so a dam can be built. Unable to sway her, he must eventually use force, effectively killing her by separating her from her spirit. He is redeemed by his genuine sorrow, and his love for Garth's granddaughter. A racial subplot shows the beneficial effects of technology." [Expanded Academic Index]