King Vidor:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles
Videos
Articles on individual Films
The Big Parade
Bird of Paradise
The Crowd
Duel in the Sun
Far From Heaven
The Fountainhead
Hallelujah
Our Daily Bread
Stella Dallas
War and Peace

Books

Denton, Clive.
King VidorLondon: Tantivy Press; New York: A.S. Barnes, 1976.
MAIN: PN1998.A2 D461 1976; Storage Info: $D 15 760

Durgnat, Raymond.
King Vidor, American Berkeley: University of California Press, c1988.
MAIN: PN1998.A3 V4826 1988
Moffitt: PN1998.A3 V4826 1988

La grande parata: il cinema di King Vidor
Torino: Lindau, 1994.
MAIN: PN1998.3.V54 G73 1993; Storage Info: B 4 140 187
"In questa prospettiva, la Biennale di Venezia, la Cineteca di Bologna e il Museo Nazioinale del Cinema di Torino promuovono, nell'ambito della 51a edizione della Mostra Internazionale d'Arte Cinematografica, questa retrospettiva dedicata a King Vidor nel centenario della nascita, con un programma che comprende tutti i film realizzati dal regista americano, a tuttoggi conservati."

Higham, Charles
"King Vidor." In:
The celluloid muse: Hollywood directors speak [by] Charles Higham and Joel Greenberg. London, Angus & Robertson, 1969.
Main Stack PN1998.A2.H5 NRLF #: B 3 569 794
Moffitt PN1998.A2.H5

The Hollywood professionals
Kingsley Canham [and others]. London, Tantivy Press; New York, A. S. Barnes & Co. [1973-<1980
Contents: v. 1. Michael Curtiz. Raoul Walsh. Henry Hathaway.--v. 2. Henry King. Lewis Milestone. Sam Wood.--v. 3. Howard Hawks. Frank Borzage. Edgar G. Ulmer.--v. 4. Tod Browning. Don Siegel.--v. 5. King Vidor. John Cromwell. Mervyn LeRoy.--v. 6. Frank Capra. George Cukor. Clarence Brown.--v. 7. Billy Wilder. Leo McCarey.
UCB Main PN1998.A2 H64 1973 v. 1-7 (1973-1980)

"King Vidor." In: Conversations with the great moviemakers of Hollywood's golden age at the American Film Institute / edited and with an introduction by George Stevens, Jr. 1st ed. New York : A. A. Knopf, 2006.
PFA PN1998.2.A45 2006

Kirkpatrick, Sidney.
A cast of killers New York: Dutton, c1986.
MAIN: HV6534.L7 K571 1986

Lang, Robert
American film melodrama: Griffith, Vidor, Minnelli Princeton, N.J.: Princeton University Press, c1989.
MAIN: PN1995.9.M45 L361 1989
Moffitt: PN1995.9.M45 L36 1989

The Man with the megaphone
Thames Television. New York, N.Y. : HBO Video, c1980.(Series: Thames video collection)
Media Center VIDEO/C 6163

Men who made the movies: King Vidor
New York, NY: WNET Television Station, 1973.
Media Center VIDEO/C 2038; Storage Info: B 4 175 632

Sarris, Andrew.
King Vidor." In: "You ain't heard nothin' yet" : the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York : Oxford University Press, 1998.
Main Stack PN1995.7.S27 1998
Moffitt PN1995.7.S27 1998

Schickel, Richard
"King Vidor: romantic idealist." In: Matinee idylls: reflections on the movies / Richard Schickel. p. 21-30. Chicago: Ivan R. Dee, 1999.
Main Stack PN1994.S3495 1999

Vidor, King
King Vidor (Interview) [Hollywood, Calif.]: Directors Guild of America; Metuchen, N.J.: Scarecrow Press, 1988.
MAIN: PN1998.3.V54 A31 1988

Vidor, King
King Vidor on film making.New York, McKay [1972]
Main Stack PN1998.A3.V481 1972

Journal Articles

Almendros, Nestor
"King Vidor et moi." Cahiers du Cinema no443/444 supp May 1991. p. 7

Bush, Gregory W.
"Like 'a Drop of Water in the Stream of Life': Moving Images of Mass Man from Griffith to Vidor." Journal of American Studies, vol. 25 no. 2. 1991 Aug. pp: 213-34.
"In films like A Corner in Wheat (1909) and The Birth of the Nation (1915), D. W. Griffith showed that depicting collective crowd behavior interested large audiences and might encourage acceptance of the types of human uplift measures that Progressive social reformers advocated during these times; but his films revealed his own confusion about the place of democracy in the nation's urban settings. Subsequently, World War I and the popularity of interwar press sensationalism as well as greater use of advertising and more urbanization caused filmmakers to heed the newest ideas about crowd psychology. King Vidor's The Crowd (1928) similarly emphasized crowd behavior and noted the adverse and irremediable consequences for individuals of the nation's urbanization and emergence of its new mass society." [America History & Life]

Cohn, Bernard
"A propos de King Vidor on film making." Positif; nr.163 (Nov 1974); p.59-61
Of 'King Vidor on film making'.

Dover, B.
"Tribute to King Vidor (with filmography)." Films in Review v 29 June 1978. p. 379-80

Durgnat, Raymond
"King Vidor, part 1."Film Comment; Vol.IX nr.4 (July-Aug 1973); p.10-49
First of a two part article on the films of K.V.

Durgnat, Raymond
"King Vidor, part 2." Film Comment;Vol.IX nr.5 (Sept-Oct 1973); p.16-51
Second of a two part article discussing in detail several of Vidor's later films, with a concluding assessment.

Eyman, Scott
"Remembering King Vidor." Films & Filming; nr.340 (Jan 1983); p.38-39
A personal memoir of K.V.

Eyquem, Olivier
"Biofilmographie de King Vidor." Positif; nr.163 (Nov 1974); p.62-70
Detailed bio-filmography of K.V., followed by a selective bibliography.

Harrington, Curtis
"King Vidor's Hollywood progress." Sight and Sound 22:4 (1953:Apr./June) 179

Henry, Michael
"Le blé, l'acier et la dynamite." (de An American romance á Ruby Gentry, ou l'aprés-guerre de King Vidor). Positif; nr.163 (Nov 1974); p.41-48
Study of Vidor's films from 1944 to 1953.

Higham, Charles.
"King Vidor." Film Heritage 1966 1(4): 15-25.

"King Vidor." Positif; nr.161 (Sept 1974); p.2-42
First part of a critical study of the work of K.V.

Luft, H.G.
"King Vidor." Films in Review; Vol.XXXIII nr.10 (Dec 1982); p.587-611
Bio-filmographic article on US director K.V.

Maurice, Alice.
"Cinema at Its Source': Synchronizing Race and Sound in the Early Talkies." Camera Obscura. 49:31-72. 2002 Jan

Nash, A..
"King Vidor on D.W. Griffith's influence." Films in Review; Vol.XXVI nr.9 (Nov 1975); p.547-548

Sauvage, P..
"Post-scriptum: Vidor aujourd'hui." Positif; nr.161 (Sept 1974); p.23-24
K.V. talks about his present situation.

Tonguette, Peter.
"King Vidor: The Editor’s Director." Senses of Cinema, Issue 59, 2011

Vidor, King
"Bucking the system... or buckling under: Rubber stamp movies." Film Comment; Vol.XII nr.4 (July-Aug 1976); p.33-34
Director King Vidor comments on the role of high costs in movies. Reprinted from 'New Theatre', Sept. 1934. Introduction by Richard Koszarski.

Vidor, King
"Inspiration ou calcul?" Positif; nr.161 (Sept 1974); p.3-4
Vidor explains how he views the relation between the script and the actual shooting of a film.

Vidor, King
"Movies are not all harmony." Music Journal 18:5 (1960:Jul/Aug) 7
UC users only

Vidor, King
"The Story Conference." Films in Review 36 [June/July 1952] 266

"War, wheat and steel: King Vidor interviewed by Joel Greenberg."
Sight and Sound v 37 no4 Autumn 1968. p. 192-7

Obituraries

Flint, Peter B.
"Trailblazer and rebel." (King Vidor) (obituary). The New York Times Nov 2, 1982 v132 p47(N) pB8(L) col 1 (32 col in)

McCarthy, Todd
"King Vidor, 88, film pioneer, dies at his California ranch." Variety Nov 3, 1982 v309 p4(2)

Books and Articles About Individual Movies

The Big Parade

Clooney, Nick.
"The Big Parade." In: The movies that changed us : reflections on the screen /New York : Atria Books, c2002. Moffitt PN1993.5.U6.C57 2002

Durgnat, Raymond
"The big parade." Film Comment; Vol.IX nr.4 (July-Aug 1973); p.11-15

Isenberg, Michael T.
"The Great War Viewed from the Twenties: The Big Parade." In: Hollywood's World War I: motion picture images /, edited by Peter C. Rollins and John E. O'Connor. pp: 39-58.Bowling Green, OH: Bowling Green State University Popular Press, [1997]
Moffitt D522.23.H65 1997

Jacobs, Lea.
"Men Without Women: The Avatars of "What Price Glory"." Film History 17:2-3 (2005) p. 307-333
UC users only

Bird of Paradise

Hershfield, Joanne
"Race and Romance in "Bird of Paradise." Cinema Journal 373 [Spring 1998] 3-15
UC users only

The Crowd

Beck, Hubert. Von
"'History' zu 'Hysteria' - King Vidors The Crowd (1928)." Amerikastudien/American Studies. 37(1):85-93. 1992.
"Introduces King Vidor's silent (MGM) production The Crowd (1928) as an important example of the treatment of the city in a feature film. The author analyzes and interprets The Crowd not only aesthetically but also in the context of pertinent theoretical conceptions of urban life. The author sees the film as exemplifying Gustave Le Bon's sociopyschological theory of urban masses, The Crowd (La Psychologie des Foules) (1895). Vidor's critical realism and the expressionist drama of the nightmare city in The Crowd are alternative views of the promising images of a great American century within public symbolic discourse." [America History & Life]

Durgnat, Raymond
"The crowd." Film Comment; Vol.IX nr.4 (July-Aug 1973); p.15-17

Ellis, M.
"Crowd music." Sight & Sound; Vol.L nr.4 (Autumn 1981); p.224
On Carl Davis and his original music score to accompany a screening of the silent classic "The crowd"

Gledhill, Christine.
"Between Melodrama and Realism: Anthony Asquith's Underground and King Vidor's The Crowd." In: Classical Hollywood narrative: the paradigm wars / edited by Jane Gaines. pp: 129-67. Durham: Duke University Press, 1992.
Main Stack PN1995.C537 1992

Hansen, Miriam.
"Ambivalences of the 'Mass Ornament': King Vidor's The Crowd." Qui Parle: Literature, Philosophy, Visual Arts, History. 5(2):102-19. 1992 Spring-Summer.

Hansen, Miriam.
"Ein Massenmedium konstruiert sein Publikum: King Vidor's The Crowd." Die Neue Gesellschaft/Frankfurter Hefte: Zeitschrift fur Demokratie und Sozialismus. 40(9):834-42. 1993 Sept

Rhodes, Chip.
"Filling the Void: Work and the Modern Subject in King Vidor's The Crowd." Studies in the Humanities 20(2):115-24. 1993 Dec

Vidor, King
"L'acteur." Positif; nr.200-202 (Dec-Jan 1977-78); p.211-219
Account of the filming of 'The crowd' and Vidor's contact with James Murray.

Duel in the Sun

Beinzger, Dagmar. Tillmanns, Julika.
"Quick to Blossom and Early to Die." Frauen und Film. 54-55:125-36. 1994 Apr

Corkin, Stanley
"Melodrama and Feminine Means to Empire: Duel in the Sun, Pursued, and Fort Apache." In: Cowboys as cold warriors : the Western and U.S. history / Stanley Corkin. Philadelphia : Temple University Press, 2004.
Main (Gardner) Stacks PN1995.9.W4 C65 2004
Bancroft PN1995.9.W4 C65 2004

Coyne, Michael.
"Puritan Paradigms: My Darling Clementine and Duel in the Sun." In: The crowded prairie : American national identity in the Hollywood western / Michael Coyne. London ; New York : I.B. Tauris ; [New York : distributed by St. Martin's Press], 1997.
Main (Gardner) Stacks PN1995.9.W4 C69 1997

Durgnat, Raymond
"Duel in the sun." Film Comment; Vol.IX nr.5 (Sept-Oct 1973); p.17-29

Fojas, Camilla.
"Mixed Race Frontiers: Border Westerns and the Limits of 'America'." In: Mixed race Hollywood / edited by Mary Beltrán and Camilla Fojas. New York : New York University Press, c2008.
Main (Gardner) Stacks PN1995.9.R23 M59 2008
Comparative Ethnic Studies PN1995.9.R23 M59 2008

Hulsbus, Monica.
"The Double/Double Bind of Postwar Race And Gender in Duel in the Sun." Spectator: The University of Southern California Journal of Film & Television, Fall/Winter1996, Vol. 17 Issue 1, p80-87, 8p,

Morrison, Susan.
"The (Ideo)logical Consequences of Gender on Genre." Cineaction; Summer88, Issue 13/14, p40-45, 6p

Mulvey, Laura.
"Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by King Vidor's Duel in the Sun (1946)." In: Feminist film theory: a reader / edited by Sue Thornham. pp: 122-30. New York: New York University Press, 1999.
Main Stack PN1995.9.W6.F465 1999
Also In:

Psychoanalysis & cinema / edited by E. Ann Kaplan. New York : Routledge, 1990.
Pacific Film Archive PN1995.9.P78 P79 1990

Framework nos 15/16/17(1981), pp 12-15.

Pryor, Jerome, S.J.
"Duel in the Sun, a Classical Symphony." New Orleans Review. 17(4):8-19. 1990 Winter.

Rall, Veronika.
"'Vashti, why do you talk so much nonsense?' - 'Because I have so much to remember': Zu King Vidors Duel in the Sun (1946)." Frauen und Film. 54-55:113-23. 1994
Examinations of certain elements in "Duel in the sun": the psychology of the characters, esp. that played by Jennifer Jones, the depiction of racial stereotypes, and the use of myth and symbolism.

Rennahan, Ray
Filming of Duel in the sun oral history transcript: recollections of Ray Rennahan, Lee Garmes, and King Vidor [Los Angeles]: Oral History Program, University of California, Los Angeles, c1969.
BANC: BANC MSS 72/180 c; Non-circulating; may be used only in The Bancroft Library.

Wood, Robin.
"Duel in the Sun: The Destruction of an Ideological System Continuum." In: The book of westerns / edited by Ian Cameron and Douglas Pye. pp: 189-95. New York: Continuum, 1996.
Main Stack PN1995.9.W4.B66 1996
Moffitt PN1995.9.W4.B66 1996
Bancroft PN1995.9.W4.B66 1996

Far From Heaven

See Todd Haynes bibliography

The Fountainhead

Beauregard, Costa de.
"Regarder c'est dire: Etude semiotique d'une sequence du film de King Vidor: The Fountainhead." Etudes Anglaises. 44(3):309-17. 1991 July-Sept

Durgnat, Raymond.
"The Fountainhead." Film Comment; Vol.IX nr.5 (Sept-Oct 1973); p.29-35

Schleier, M.
"Ayn Rand and King Vidor's Film The Fountainhead: Architectural Modernism, the Gendered Body, and Political Ideology." Journal of the Society of Architectural Historians v. 61 no. 3 (September 2002) p. 310-31
"This paper explores Ayn Rand and King Vidor's depiction of a gendered and politicized architectural discourse in the film The Fountainhead (1949), which was based on the writer's best-selling novel. The film has been examined in the contexts of Frank Lloyd Wright's influence and the impact of European modernism on the set designs. This paper expands on the work of previous scholars by considering the effects of such diverse modern architecture, theoreticians, critics, and builders as Wright, Louis Sullivan, Le Corbusier, Sheldon Cheney, and the Starett Brothers, among others, on Rand. New evidence in the Rand Archives and the Warner Brothers Archives also establishes the manner in which she appropriated architectural source materials in the service of her conservative, gender-inflected political agenda. Rand employed these sources in all aspects of the project, including plot construction, character delineation, and the depiction of the profession. Characters are signified by building types (e.g., skyscraper, housing project) or stylistic analogues, which represent their economic or political philosophies. An analysis of Rand's screenplay, her architectural borrowings, and the film's mise en scene elucidates her ideological and prescriptive agenda, namely the destruction of New Deal cooperation and subsidies, which are signified by public housing, in favor of capitalist economics, which are epitomized by skyscrapers." [Art Index]

Spadoni, Robert.
"Guilty by Omission: Girding The Fountainhead for the Cold War." Literature-Film Quarterly. 27(3):223-32. 1999.

Hallelujah!

Combs, Richard
"Hallelujah!" Monthly Film Bulletin; Vol.XLI nr.488 (Sept 1974); p.209

Cripps, Thomas.
"Black Music, White Movies." In: Slow fade to black : the Negro in American film, 1900-1942 / Thomas Cripps. Oxford ; New York : Oxford University Press, c1993.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.N4 C7 1993
Moffitt PN1995.9.N4 C7 1993

Durgnat, Raymond
"Hallelujah!" Film Comment;Vol.IX nr.4 (July-Aug 1973); p.19-23

"Hallelujah."
Theatre Arts 26:8 (1942:Aug) 511

Howard, Jessica H.
"Hallelujah! Transformation in Film." African American Review. 30(3):441-51. 1996 Fall.
UC users only

Leiris, M.
"Saints noirs (sur Hallelujah)." Positif; nr.163 (Nov 1974); p.28-29

Maurice, Alice.
"Cinema at Its Source': Synchronizing Race and Sound in the Early Talkies." Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 49: 31-72. 2002 Jan.
"During the early years of sound in cinema, studios, critics, and the popular press created a discursive link between African American performers and sound technology. The suggestion that "black voices" could cure the new cinema's technical difficulties in uniting sight and sound highlights a type of synesthesia already operating in the representation and perception of race. The persistent link between color and sound in psychological/perceptual and rhetorical registers created an effective and insidious strategy for promoting "all-black cast" talkies. With a focus on the racialized body, race functioned to show off and shore up the apparatus of cinema at a time of technological vulnerability. As an example, the writer examines King Vidor's 1929 film Hallelujah! and how its expressionistic visual style fuses the racialized body and the cinematic sign to produce a more perfect synchronization." [Art Index]

Ribemont-Dessaignes, Georges
"Hallelujah (excerpt from Documents, 1930)October (Cambridge, Mass) no60 Spring 1992. p. 46-8

Weisenfeld, Judith.
"'Taint What You Was, It's What You Is Today": Hallelujah and the Politics of Racial Authenticity." In: Hollywood be thy name : African American religion in American film, 1929-1949 Berkeley : University of California Press, c2007.
MAIN: PN1995.9.N4 W45 2007
Table of contents http://www.loc.gov/catdir/toc/ecip074/2006037488.html

Our Daily Bread

Durgnat, Raymond
"Our Daily Bread." Film Comment; Vol.IX nr.4 (July-Aug 1973); p.31-36

Levine, Lawrence W.
"Hollywood's Washington: Film Images Of National Politics During The Great Depression." Prospects [Great Britain] 1985 10: 169-195.
"Though many film historians believed that American films of the 1930's were primarily "escapist," and that the few political films made were leftist, there was in fact a substantial body of right-wing and centrist political films during the Great Depression. Films from the first half of the 1930's such as Gabriel Over the White House and King Vidor's Our Daily Bread reflected both the fear and the appeal of fascism, while movies later in the decade such as Fury (1936), The Legion of Terror (1936) and Young Mr. Lincoln (1939) attacked vigilantism and authoritarianism." [America History & Life]

Moore, James Tice.
"Depression Images: Subsistence Homesteads, 'Production-for-Use,' and King Vidor's Our Daily Bread." Midwest Quarterly-A Journal of Contemporary Thought. 26(1):24-34. 1984 Autumn.
"The crisis of the Great Depression gave rise to a wide variety of dreams, utopias, and ideas for reforming the American system to bring back prosperity. With farmland lying fallow and unemployed workers massed in the cities, the idea of rural resettlement took hold. Given a big push in utopian socialist Upton Sinclair's 1934 campaign for governor in California, rural resettlement was given widespread attention in King Vidor's 1934 film, Our Daily Bread. Extolling rural cooperatives, Vidor's film was an artistic success but a commercial loss. Sinclair's defeat in the fall election delivered another blow to the movement, and rural resettlement was killed with the ascendancy in 1935 of Rexford Tugwell in the White House. Tugwell viewed such reform efforts as anachronistic communitarian experiments and not feasible." [America History & Life]

O'Leary, B.
"King Vidor's Communitarian Vision in Our Daily Bread." Film and Philosophy,1997, , pages 66-73

Ribemont-Dessaignes, G.
"Hallelujah" [excerpt from Documents, 1930]. October (Cambridge, Mass.) no. 60 (Spring 1992) p. 46-8

Stella Dallas

Brauerhoch, Annette.
"Zwischen Melodrama und Komodie: zu den 'lacherlichen' Versuchen Stella Dallas', 'mehr zu sein als eine Mutter'." Frauen und Film. 53:40-54. 1992 Dec.
Feminist analysis of the lead roles and their comic effect, as well as the issue of motherhood in "Stella Dallas" (1937) and its 1990 remake "Stella".

Chandler, Karen M.
"Agency and Stella Dallas: Audience, Melodramatic Directives, and Social Determinism in 1920s America." Arizona Quarterly. 51(4):27-44. 1995 Winter

Christensen, Inger.
"From Heroine to Harlequin: The Representation of Stella Dallas in Novel and Film." Livstegn: Journal of the Norwegian Association for Semiotic Studies. 3:40-52. 1987 Jan.

Gallagher, Tag
"Tag Gallagher Responds to Tania Modleski's "Time and Desire in the Woman's Film" ("Cinema Journal," Spring 1984) and Linda Williams's " 'Something Else besides a Mother": "Stella Dallas" and the Maternal Melodrama" ("Cinema Journal," Fall 1984)." Cinema Journal Vol. 25, No. 2 (Winter, 1986), pp. 65-66
UC users only

Gledhill, Christine. Kaplan, E. Ann (reply).
"Dialogue: Christine Gledhill on Stella Dallas and Feminist Film Theory; E. Ann Kaplan Replies." Cinema Journal. 25(4):44-53. 1986 Summer.
UC users only

Kaplan, E. Ann
"The Case of the Missing Mother: Maternal Issues in Vidor's Stella Dallas." In: Issues in feminist film criticism / edited by Patricia Erens. pp. 126-136. Bloomington : Indiana University Press, c1990.
Main Stack PN1995.9.W6.I87 1990
Moffitt PN1995.9.W6.I87 1990

Keller, Alexandra.
"From Stella Dallas to Lila Lipscomb: reading real motherhood through reel motherhood ." West Virginia University Philological Papers 52 (Fall 2005): 1(16).

McHugh, Kathleen-Anne
"The labor of maternal melodramas: converting angels to icons." In: American domesticity: from how-to manual to Hollywood melodrama / Kathleen Anne McHugh.p. 130-49. New York: Oxford University Press, 1999.
Main Stack PN1995.9.W6.M38 1999

Parchesky, Jennifer.
"Adapting Stella Dallas: Class Boundaries, Consumerism, and Hierarchies of Taste." Legacy. 2006. Vol. 23, Iss. 2; p. 178 (21 pages)

Pittman, Frank
"Screening Room, Hollywood and the Unwed Mother; Comedy is a window on our social mores." Psychotherapy Networker. May/Jun 2008. Vol. 32, Iss. 3

Siomopoulos, Anna.
"'I Didn't Know Anyone Could Be So Unselfish': Liberal Empathy, the Welfare State, and King Vidor's Stella Dallas." Cinema Journal. 38(4):3-23. 1999 Summer.
UC users only
"The rhetoric of King Vidor's Stella Dallas, the premiere example of 1930s melodrama, is dominated by a welfare ethic of redistribution that pacifies the more radical implications of the movie's class and gender politics. Released in 1937, at the beginning of Franklin Delano Roosevelt's second term in office, the movie focuses on a woman who embodies the use of consumer culture to affirm an identity that does not adhere to any single class politics. As such, she provides a third alternative to both market sensibility and the New Deal's consumer ethics throughout most of the movie. At the end of the movie, however, she uses her transgressive style for the very conventional end of making her daughter forsake her for a better life. The movie's use of multiple identification suggests that the solution to the problem of the heroine and of isolated, impoverished women like her requires a little more empathy on the part of both characters and spectators rather than a critique of class and gender relations." [Art Abstracts]

Thomson, David
"Stella Stanwyck." Film Comment;Vol.XVII nr.2 (Mar-Apr 1981); p.41-43
Discusses Barbara Stanwyck's performance in "Stella Dallas".

Thornton, Edie
"Fashion, Visibility, and Class Mobility in Stella Dallas Fashion, Visibility, and Class Mobility in Stella Dallas." American Literary History, Vol. 11, No. 3 (Autumn, 1999), pp. 426-447
UC users only

Whitney, Allison .
"Race, Class, and the Pressure to Pass in American Maternal Melodrama: The Case of Stella Dallas." Journal of Film and Video. Spring 2007. Vol. 59, Iss. 1; pg. 3, 16 pgs
UC users only

Williams, Linda.
"'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama." Cinema Journal. 24(1):2-27. 1984 Fall.
UC users only
"This article asks what is different about a classic narrative film in which the primary "look" motivating the narrative is between mother and daughter - e.g., when the typical look of desire articulates a visual economy of mother-daughter possession and dispossession and when the significant viewer of this drama is herself a woman. King Vidor's "Stella Dallas" is thus used as an interesting test case for many important concepts of recent feminist film theory as well as for feminist thinking about the formation of the female subject." [Periodicals Contents Index]
Kaplan, Ann
"Ann Kaplan Replies to Linda Williams's " 'Something Else besides a Mother: "Stella Dallas" and the Maternal Melodrama' "" ("Cinema Journal," Fall 1984) Cinema Journal Vol. 24, No. 2 (Winter, 1985), pp. 40-43
UC users only

Williams, Linda.
"'Something Else Besides a Mother': Stella Dallas and the Maternal Melodrama." In: Home is where the heart is: studies in melodrama and the woman's film / edited by Christine Gledhill. London: British Film Institute, 1987.
Main Stack PN1995.9.M4.H6
Moffitt PN1995.9.M4.H6

War and Peace

Berg, S. A.
"King Vidor" [provocative director of War and peace]. Architectural Digest v. 47 (April 1990) p. 146-7

Durgnat, Raymond
"War and Peace" Film Comment; Vol.IX nr.5 (Sept-Oct 1973); p.43-46

Fell, J.L..
"Structuring charts and patterns in film." Quarterly Review of Film Studies; Vol.III nr.3 (Summer 1978); p.371-388
Surveys diagrams of narrative structure by Mark Sandrich in "Follow the fleet", by King Vidor in "The citadel" and "War and peace", by Thomas Wright in "Family plot" and others by scholars. AT: Article; Diagrams
To the top

Copyright (C) 1996 by the Library, University of California, Berkeley. All rights reserved.
Document maintained on server: http://www.lib.berkeley.edu/ by
Gary Handman, Head, Media Resources Center.
Last update 12/06/11 [gh]

MRC web graphics by Mary Scott, Graphics Office, The Teaching Library