Billy Wilder:
A Bibliography of Materials in the UC Berkeley Library

Books
Journal Articles
Obituaries
Articles and Books on Individual films

Movies by Director videography for works of Wilder in MRC
Videos on film and film history

Books

Armstrong, Richard
Billy Wilder, American film realist / by Richard Armstrong. Jefferson, N.C.: McFarland, c2000.

UCB Main PN1998.3.W56 A87 2000

Cappabianca, Alessandro.
Billy Wilder / di Alessandro Cappabianca. Firenze: La nuova Italia, 1984. Series title: Il Castoro cinema; 30.

UCB Main PN1998.A3 W518 1984

Chandler, Charlotte.
Nobody's perfect: Billy Wilder, a personal biography / Charlotte Chandler. New York: Simon & Schuster, c2002.

Main PN1998.3.W56.C49 2002

Moffitt PN1998.3.W56.C49 2002

Colpart, Gilles.
Billy Wilder / Gilles Colpart. [Paris]: Edilig, [1983]. Series title: Filmo 4.

UCB Main PN1998.A3 W5221 1983

Dick, Bernard F.
Billy Wilder / Bernard F. Dick. Boston: Twayne Publishers, 1980. Series title: Twayne's theatrical arts series.

UCB Main PN1998.A3 .W524

UCB Moffitt PN1998.A3 .W524

Dick, Bernard F.
Billy Wilder / Bernard F. Dick. Updated ed., 1st Da Capo Press ed. New York: Da Capo Press, 1996.

UCB Main PN1998.3.W56 D53 1996

UCB Moffitt PN1998.3.W56 D53 1996

Henry, Nora
Ethics and social criticism in the Hollywood films of Erich von Stroheim, Ernst Lubitsch, and Billy Wilder. Westport, Conn.: Praeger, 2001. UCB Main PN1998.3.V67 H46 2001

Lally, Kevin (G. Kevin)
Wilder times: the life of Billy Wilder / Kevin Lally. 1st ed. New York: H. Holt, 1996.

UCB Main PN1998.3.W56 L36 1996

UCB Moffitt PN1998.3.W56 L36 1996

Madsen, Axel.
Billy Wilder. London, Secker & Warburg, 1968. Series title: Cinema one series, 8.

UCB Main PN1993 .C45 v.8

Phillips, Gene D.
"Billy Wilder: the beautiful and the damned." In: Exiles in Hollywood: major European film directors in America / Gene D. Phillips. p. 177-217. Bethlehem: Lehigh University Press; London: Associated University Presses, c1998.

Main Stack PN1998.2.P54 1998

Moffitt PN1998.2.P54 1998

Prelutsky, Burt.
"An Interview with Billy Wilder." In: The Movies: texts, receptions, exposures / edited by Laurence. pp: 166-75 Goldstein and Ira Konigsberg. Ann Arbor: University of Michigan Press, c1996.

Main Stack PN1994.M78 1996

Moffitt PN1994.M78 1996

Rothman, William.
"Nobody?s Perfect: Billy Wilder and Postwar American Cinema." In: The "I" of the camera : essays in film criticism, history, and aesthetics. 2nd ed. Cambridge, UK ; New York : Cambridge University Press, 2004.

MAIN PN1995.R68 2004

Moffitt N1995.R68 2004

Seidman, Steve.
The film career of Billy Wilder / Steve Seidman. Boston: G. K. Hall, c1977. Series title: A Reference publication in film.

UCB Main PN1998.A3 W56

UCB Moffitt PN1998.A3 W56

Sikov, Ed.
On Sunset Boulevard: the life and times of Billy Wilder / by Ed Sikov. 1st ed. New York: Hyperion, 1998.

UCB Main PN1998.3.W56 S55 1998

UCB Moffitt PN1998.3.W56 S55 1998

Sinyard, Neil
Journey down Sunset Boulevard: the films of Billy Wilder / Neil Sinyard and Adrian Turner. Ryde, Isle of Wight: BCW Publishing, 1979.

UCB Main PN1998.A3 W57

Wilder, Billy
Conversations with Wilder / by Cameron Crowe. 1st ed. New York: Knopf: Distributed by Random House, 1999.

UCB Main PN1998.3.W56 A5 1999

Wilder, Billy
Billy Wilder: interviews / edited by Robert Horton. Jackson: University Press of Mississippi, c2001. Conversations with filmmakers series.

Main Stack PN1998.3.W56.A5 2001

Wood, Tom.
The bright side of Billy Wilder, primarily. [1st ed.]. Garden City, N.Y., Doubleday, 1970.

NRLF $B 114 698

Zolotow, Maurice
Billy Wilder in Hollywood / Maurice Zolotow. New York: Putnam, c1977.

UCB Main PN1998 .A3W59 1977 UCB Moffitt PN1998 .A3W59 1977

Journal Articles

Adair, G.
"Billy Wilder bewildered." Sight and Sound v 46 no1 Winter 1976/1977. p. 52-3

Allen, Tom
"Bracketting Wilder." Film Comment v 18 May/June 1982. p. 29-31

Armstrong, Richard
"Billy Wilder." (Great Directors: A Critical Database) Senses of Cinema

Bart, Peter.
"H'wood's Wilder moments." (appreciation for director Billy Wilder)(Column) Variety v362, n12 (April 22, 1996):6 (2 pages).
On the eve of his 90th birthday, the influential movie director Billy Wilder is appreciated for his many great films, several of which Hollywood has unsuccessfully tried to remake. Wilder was at the height of his creativity in the 1940s and '50s with such films as 'Sabrina' and 'The Apartment.'

Bourget, Jean-Loup
"Billy Wilder: 1906-2002--Et maintenant, petit homme? Billy Wilder: 1906-2002--And Now, Little Man?" Positif - Revue mensuelle de cin?ma :495 [May 2002] p.97-100

Carter, M.N.
"Obsessions of Billy Wilder." Saturday Review v. 7 (December 1980) p. 60-4

Clarke, G.
"Portrait: Billy Wilder, Sunset Boulevard's creator talks of the town." [Hollywood, Calif.]. Architectural Digest v. 51 (April 1994) p. 22+

Columbus, Chris
"Wilder times." [interview] American Film v 11 Mar 1986. p. 22-8

Crowe, Cameron
"The 'Wilder touch': both sweet and sour." The New York Times April 7, 2002 pAR24(N) pAR24(L) col 1

Dassanowsky-Harris, Robert
"Billy Wilder's Germany."Films in Review v 41 May 1990. p. 292-7

Doherty, Thomas.
"Billy Wilder: Ready for a Close-Up." Chronicle of Higher Education 2000 Nov 3, 47:10, B18-19.
"This article discusses the life and works of legendary Hollywood director Billy Wilder. Issues include the growing appreciation of the filmmakers style, as well as his works, from the late 1940s through the early 1970s, including 'Sunset Boulevard,' 'Some Like It Hot,' and 'The Apartment,' among others, and the influence Wilder has had on generations of filmmakers." [Expanded Academic Index]

Dunne, John Gregory
"The Critics: The Old Pornographer: Billy Wilder Is Hollywood's Cleverest Moralist." The New Yorker 75:33 [8 November 1999] p.88-96

Dzenis, Anna.
"Billy Wilder: The Chiarascuro Artist." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 20:(no pagination). 2002 May-June

Freeman, David.
"Sunset Boulevard revisited: annals of Hollywood." (movie director Bill Wilder discusses his career and best-known film) New Yorker v69, n18 (June 21, 1993):72 (8 pages).
Director Bill Wilder viewed his best-known film, 'Sunset Boulevard,' for the first time since 1950, on the occasion of the classic's adaptation as an Andrew Lloyd Webber musical. The film, Wilder's early life and his much-maligned career are profiled.

Gray, Timothy M., Natale, Richard
"Obituaries: Wilder: Maestro of Movies: Immigrant to America Made Quintessential U.S. Classics." Variety 386:7 [1 April 2002-7 April 2002] p.73

Harmetz, Aljean
"Billy Wilder, master of caustic films, dies at 95." (Obituary) The New York Times March 29, 2002 s0 pA1(N) pA1(L) col 2 (25 col in)

Higham, Charles
"Cast a cold eye: the films of Billy Wilder." Sight and Sound v 32 no2 Spring 1963. p. 83-7+
UC users only

Higham, Charles
"Meet whiplash Wilder." Sight and Sound v 37 no1 Winter 1967/1968. p. 21-3

"The Imagemakers: reminiscences and reflections on the art of filmmaking." American Film v 10 June 1985. p. 22-8+, 97-101+

Kemp, Phillip
"Billy Wilder." (1906-2002)(Obituary) Sight and Sound May 2002 v12 i5 p3(1)

Kakutani, Michiko
"Heart of a romantic, head of a skeptic." (Arts & Ideas)(Billy Wilder) The New York Times March 30, 2002 pA17(N) pB9(L) col 1 (20 col in)

Kirkham, Pat.
"Saul Bass and Billy Wilder: In Conversation." Sight and Sound, 1995 June, 5:6, 18-21.
Director Billy Wilder and graphic designer Saul Bass had cooperated in the film 'The Seven year Itch' and recognize the similarities of visual manipulation techniques in their two fields. Wilder is known for his work in 'Psycho,' which is considered to be the height of the mystery thriller genre. Meanwhile, Bass perfected the combination of montage effects and graphics for his work. Both recognize the influence of European and Russian cinematographers in their work.

Linville, James.
"The art of screenwriting." (writer-director Billy Wilder)(part 1)(Interview) Paris Review v38, n138 (Spring, 1996):46 (26 pages).
Writer director Billy Wilder is critical of the theory that describes films as a director's medium. He believes movies are authored but the screenplay writer rarely gets to share the credit and is seldom involved in the actual making of the film. Wilder's rationale for opting to direct was to protect the sanctity of the script. Wilder claims to have an elegant yet simple style of writing and feels indebted to the German director Ernst Lubitsch, who had a deep impact on his works. Wilder elaborates his experience of working with different actors.

McBride, Joseph; McCarthy, Todd
"Going for extra innings." Film Comment v 15 Jan 1979. p. 40-8

McBride, Joseph
"Private life of Billy Wilder." Film Quarterly v 23 no4 Summer 1970. p. 2-9

Morris, George
"Private films of Billy Wilder." Film Comment v 15 Jan 1979. p. 33-9

Porfirio, Robert
"Billy Wilder: About Film Noir." [Interview] Images no. 10

Prelutsky, Burt.
"An interview with Billy Wilder." (motion picture writer and director)(The Movies: A Centennial Issue, part 2)(Interview) Michigan Quarterly Review v35, n1 (Wntr, 1996):64 (11 pages).
Billy Wilder is a screenwriter and director responsible for many classic films such as 'The Seven Year Itch.' He started out as a newspaper writer in Vienna, Austria, and moved to America when he was 28. He wrote most of his work in tandem with another writer, initially because he lacked confidence and later because he was lonely.

Rothman, William.
"Nobody?s Perfect: Billy Wilder and Postwar American Cinema." Film International, 1(1), 2003

Sarris,-Andrew
"Why Billy Wilder belongs in the pantheon." Film Comment v 27 July/Aug 1991. p. 9-14

Silverman, Stephen M.
"Billy Wilder and Stanley Donen." (Film Music Issue) Films in Review v47, n3-4 (March-April, 1996):34 (3 pages).
Billy Wilder, writer and director of several movies, admires the works of famous American producer, director, and writer Stanley Donen, the recipient of the 1996 Billy Wilder award from the National Board of Review. Donen has changed the directions of Hollywood musical movies. His musicals follow a storyline instead of a mere mix of dance and chorus music, as is seen in the musicals of the previous era. Donen made movies with Fred Astaire and Gene Kelly, his 'Singin' in the Rain' being one of the best five movies. Donen's experience with Billy Wilder is described.

Wilmington, Michael
"Jack Lemmon." Film Comment v 29 Mar/Apr 1993. p. 9-23

Young, Colin
"Old dependables." Film Quarterly v 13 no1 Fall 1959. p. 2-17

Obituraries

"Billy Wilder's death signifies end of entire epoch in Hollywood." ITAR/TASS News Agency March 29, 2002 p1008088t7940 (190 words)

Corliss, Richard
"Kings of Comedy: BILLY WILDER 1906-2002 His movies were joyfully sardonic and still sparkle like champagne." (The Arts)(Obituary) Time April 8, 2002 v159 i14 p70+

Crowe, Cameron
"The 'Wilder touch': both sweet and sour." The New York Times April 7, 2002 pAR24(N) pAR24(L) col 1 (40 col in)

Harmetz, Aljean
"Billy Wilder, master of caustic films, dies at 95." (Obituary) The New York Times March 29, 2002 s0 pA1(N) pA1(L) col 2 (25 col in)

Kakutani, Michiko
"Heart of a romantic, head of a skeptic." (Arts & Ideas)(Billy Wilder) The New York Times March 30, 2002 pA17(N) pB9(L) col 1 (20 col in)

Kemp, Philip
"Billy Wilder." (1906-2002)(Obituary) Sight and Sound May 2002 v12 i5 p3(1)
Film-maker Billy Wilder died aged 95 on March 27, 2002. Wilder's portfolio includes 'The Major and the Minor' (1942), 'Sunset Blvd.' (1950), 'Some Like It Hot' (1959) and 'Kiss Me, Stupid' (1964). Wilder had been described as the last great surviving film-maker of cinema's golden age.

"Obituaries." (notable people in the film industry) Variety April 1, 2002 v386 i7 p72(3)

Smith, Kyle.
"He Liked It Hot: From Sunset Boulevard to Stalag 17, subversive cinematist Billy Wilder thrived as the wicked wit of the West." (Up Front)(Obituary)(Brief Article)People Weekly April 15, 2002 v57 i14 p58+ (1023 words)

Journal Articles and Books About Individual Films

The Apartment

Deleyto, Celestino.
"The Dupes Strike Back: Comedy, Melodrama and Point of View in The Apartment." Atlantis: Revista de la Asociacion Espanola de Estudios Anglo- Norteamericanos, 1992 May-Nov, 14:1-2, 37-61.

Double Indemnity

Allyn, John.
"Double Indemnity: A Policy That Paid Off." Literature Film Quarterly, Spring78, Vol. 6 Issue 2, p116, 9p; (AN 7153125)
UC users only

Armstrong, Richard.
"Lady in the Dark." Film Journal." 1(1):(no pagination). 2002
UC users only

Biesen, Sheri Chinen.
"Censorship, Film Noir, And Double Indemnity (1944)." Film & History 1995 (1-2): 40-52.
UC users only
"Effectively working within the censorship restrictions of the Production Code Administration and the physical limitations imposed by the Second World War, Double Indemnity (1944) created a combination of murder and sex that inspired many imitators and helped initiate the film noir genre." [From ABC-CLIO America: History and Life]

Biesen, Sheri Chinen
"ensorship and Double Indemnity: Adapting James M. Cain During the War." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.

MAIN: PN1995.9.F54 B53 2005; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Bronfen, Elisabeth .
"Femme fatale-negotiations of tragic desire." New Literary History, Wntr 2004 v35 i1 p103-116
"The theme of fatal misrecognition, its consequences, as well as a possibility of putting an end to their haunting, is discussed. The emergence of the femme fatale in Billy Wilder's 'Double Indemnity', as the figure who accepts tragedy as an enactment of responsibility and not of fate, is examined." [Expanded Academic Index]

Dirks, Tim.
"Double Indemnity." (from: Filmsite)

Gallagher, Brian.
"'I Love You Too': Sexual Warfare & Homoeroticism in Billy Wilder's Double Indemnity." Literature/ Film Quartery, vol. 15 no. 4. 1987. pp: 237-246.
UC users only

Gravett, Sharon L.
"Love and Hate in Film Noir: Double Indemnity and Body Heat." The Journal of the Association for the Interdisciplinary Study of the Arts, vol. 1 no. 1. 1995 Fall. pp: 177-85.

Hagopian, Kevin Jack.
"Double Indemnity."
(from: Images, issue 2: "10 Shades of Noir")

Johnston, Claire.
"Double Indemnity." In: Women in Film Noir. Edited by E. Ann Kaplan. pp: 100-111. Rev. ed. London: BFI Publishing, 1980.

UCB Main PN1995.9.W6 W66 1980; 980.

UCB Moffitt PN1995.9.W6 W66 1980

Krutnik, Frank.
In a Lonely Street: Film noir, Genre, Masculinity. London: Routledge, 1991.

Main Stack PN1995.9.F54.K6 1991

Moffitt PN1995.9.F54.K6 1991

Loyo, Hilaria.
"Subversive Pleasures in Billy Wilder's Double Indemnity." Atlantis: Revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos, O 1993 May-Nov, 15:1-2, 169-90.

Manon, Hugh S.
"Some Like It Cold: Fetishism in Billy Wilder's Double Indemnity." Cinema Journal, vol. 44, no. 4, pp. 18-43, Summer 2005
UC users only

Manon, Hugh S.
"X-Ray Visions: Radiography, Chiaroscuro, and the Fantasy of Unsuspicion in Film Noir." Film Criticism; Winter2007/2008, Vol. 32 Issue 2, p2-27, 26p
UC users only
"This article discusses the use of chiaroscuro lighting in film noir motion pictures. The article explains that chiaroscuro is the angular alternation of dark shadows and stark fields of light across various on-screen surfaces. Examples of film that use this lighting are also discussed, which include "Double Indemnity," directed by Billy Wilder, "The Dark Corner," directed by Henry Hathaway, and "Raw Deal," directed by Anthony Mann. Other common film noir techniques are discussed, which includes radiography and the fantasy of unsuspicion."

Mills, Michael.
"Barbara Stanwyk and Double Indemnity." (from: Modern Times web site)

Naremore, James.
"Straight-Down-the-Line: Making and Remaking 'Double Indemnity" Film Comment 1996 Jan-Feb, V32 N1:22-31.
"Billy Wilder's Double Indemnity, one of the most influential movies in Hollywood history, was originally filmed with a different ending. In the original version of the film, which was adapted from the James M. Cain novella, Walter Neff (Fred MacMurray) was executed in a California gas chamber. This was a controversial way to end the movie, however, and Wilder dropped it, feeling that an execution was "unnecessary." Neff's death in the gas chamber is an outgrowth of several important motifs in the film, however, and it crystallizes the full implication of those motifs. Without this scene, the film's critique of American modernity is blunted, the character played by Edward G. Robinson seems less morally complex, and audiences feel a bit more comfortable." [Art Index]

Orr, Christopher
"Cain, naturalism and noir." Film Criticism v. 25 no. 1 (Fall 2000) p. 47-64
"The writer examines film noir and "hard-boiled" fiction as an expression of specific developments within the naturalist tradition, focusing on film adaptations of James M. Cain's novels The Postman Always Rings Twice and Double Indemnity, and on American remakes and adaptations of them. These novels, he explains, are based on a causal relationship between sexual desire and criminal activity, a formula that has been popular with naturalist writers since Emile Zola. He goes on to discuss Tay Garnett's 1946 adaptation of Postman, Bob Rafelson's 1981 adaptation of the same novel, Billy Wilder's 1944 adaptation of Double Indemnity, and Lawrence Kasdan's 1981 remake of it, Body Heat, exploring the degree to which they signal either transformations in naturalism or a move away from this tradition. He concludes that the naturalist tradition has all but disappeared from the erotic crime film, a subgenre that once offered an essential critique of the American dream." [Art Index]

Pelizzon, V. Penelope, and Nancy M. West.
"Multiple indemnity: film noir, James M. Cain, and adaptations of a tabloid case: the disappearing death chamber." Narrative 13.3 (Oct 2005): 211(27). 28 November 2005
UC users only

"Postwar Hollywood. Introduction: double indemnity and film noir."
In: Hollywood's America: United States history through its films / edited with an introduction by Steven Mintz and Randy Roberts. St. James, N.Y.: Brandywine Press, 1993.

Main Stack PN1993.5.U6.H64 1993

Prigozy, Ruth.
"Double Indemnity: Billy Wilder's Crime and Punishment." Literature/ Film Quarterly, vol. 12 no. 3. 1984. pp: 160-170.
UC users only

Rozgonyi, Jay,
"The Making of Double Indemnity." Films in Review v 41 June/July 1990. p. 339-45
UC users only

Spiegel, Alan.
"Seeing Triple: Cain, Chandler and Wilder on Double Indemnity." Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 16 no. 1-2. 1983 Winter-Spring. pp: 83-101.
UC users only

Shumway, David R.
"Disciplinary Identities; or, Why Is Walter Neff Telling This Story?" Symploke: A Journal for the Intermingling of Literary, Cultural and Theoretical Scholarship, 1999, 7:1-2, 97-107.

Sundstrand, Jacquelyn K.
"Searching for the man from Medford, Oregon, in the movie Double indemnity." Journal of the West 45.1 (Wntr 2006): 57(10).
The making of James M. Cain's film 'Double Indemnity' along with an account of the life's of the actors and crew members associated with the movie are detailed.

Telotte, J.P.
"Film Noir and the Double Indemnity of Discourse." Genre, 18:1 (Spring 1985) pp: 57-

A Foreign Affair

Culbert, David
"Hollywood In Berlin, 1945: A Note On Billy Wilder And The Origins Of "A Foreign Affair.""
"Hollywood director Billy Wilder, who was forced to flee Nazi Germany, returned to Berlin in 1945 and attempted to gain official support for a feature film that "would explain American occupation of Germany to civilian audiences in both Europe and America." His efforts resulted in A Foreign Affair (1948)." [America History and Life]

Loewenstein,-Joseph; Tatlock,-Lynne.
"The Marshall Plan at the Movies: Marlene Dietrich and Her Incarnations." The German-Quarterly, . 1992 Summer-Fall, 65:3-4, 429-42.

Schmundt Thomas, Georg.
"Hollywood's Romance of Foreign Policy: American GIs and the Conquest of German Fraulein." Journal of Popular Film and-Television, 1992 Winter, 19:4, 187-97.

Willett, Ralph
"Billy Wilder's A Foreign Affair (1945-48): "The Trials And Tribulations Of Berlin."" Historical Journal of Film, Radio and Television 1987 7(1): 3-14.

Fortune Cookie

Lemon, R.
"Message in Billy Wilder's Fortune cookie: well, nobody's perfect." The Saturday Evening Post v. 239 (December 17 1966) p. 30-4+

Lost Weekend

Forseth, Roger.
"'Why Did They Make Such a Fuss?' Don Birnam's Emotional Barometer." Dionysos: The Literature and Intoxication-TriQuarterly 1991 Spring, 3:1, 11-16.

Love In the Afternoon

Throne, Marilyn.
"Love in the Afternoon: A Cinematic Exposure of a 1950s Myth." Literature Film Quarterly, 1988, 16:1, 65-73.

Sabrina

Matthews,-Peter
"Sabrina" (motion picture review) Sight and Sound ns6 Feb 1996. p. 53
"Sydney Pollack's Sabrina is less nastily ambiguous and also less interesting than the original 1954 film directed by Billy Wilder. Although it is actually a good deal more likeable than its predecessor, a defanged class satire might not be what we want. Pollack and the writers have attempted to humanize the plutocratic Larrabee family and have made the servants into a jolly, freethinking crew. These coy, democratizing gestures only emphasize the obsolescence of the whole enterprise." [Art Index]

Smith, Dina M.
"Global Cinderella: Sabrina (1954), Hollywood, and Postwar Internationalism." Cinema Journal. 41(4):27-51. 2002
UC users only

Wood, Gerald C.
"Gender, Caretaking and the Three Sabrinas." Literature Film Quarterly, 2000, 28:1, 72-77.
UC users only
All three film versions of "Sabrina" have the trappings of a Cinderella story. The most recent version is less interesting as a work of art than a document of 1990s victim culture.

Seven Year Itch

Mobilio, Albert.
"Scratching Tom Ewell's Itch." In: All the available light: a Marilyn Monroe reader / [edited by] Yona Zeldis McDonough. pp: 53-59. New York: Simon & Schuster, c2002.

UCB Main PN2287.M69 A55 2002

Some Like It Hot

Cardullo, Bert.
"The Dream Structure of Some Like It Hot." Etudes Anglaises: Grande Bretagne, Etats-Unis, 1995 Apr-June, 48:2, 193-97.

Ciment, Michel
""Cinq vies"; "Billy Wilder's 'Some Like it Hot'"" Positif - Revue mensuelle de cin?ma :488 [October 2001] p.92-94

Cohen, Alain J. J.
"Like It Hot: Billy Wilder's Virtuoso Strategies of Laughter and Play." In: Interdigitations: essays for Irmengard Rauch / edited by Gerald F. Carr, Wayne Harbert, & Lihua Zhang. pp:667-79 New York: P. Lang, c1998.

Main Stack PD26.R38 1998

Lieberfeld, Daniel; Sanders, Judith.
"Keeping the Characters Straight: Comedy and Identity in Some Like It Hot." Journal of Popular Film and Television, 1998 Fall, 26:3, 128-35.
UC users only
"The writers provide a detailed reading of Some Like It Hot, showing it to be a salient case of the undermining and (re)construction of gender categories in Hollywood films. In this reading, they emphasize not only the film's narrative but also its use of visual and verbal metaphors. They also investigate how gender disguise and transgression may be commonly intertwined with the transgression of other social categories, especially, in this film, class identity. They conclude by speculating about the general role of comic narrative in the construction of social identity." [Art Index]

Wicke, Jennifer.
"Double Cross Dressing: The Politics of a Genre." Annals of Scholarship: An International Quarterly in the Humanities and Social Sciences, 1997, 11:4, 359-77.

Stalag 17

Lee, Sander.
"Scapegoating, the Holocaust and McCarthyism in Billy Wilder?s Stalag 17." Senses of Cinema, 5, April 2000.

Marx, Barbara.
"American Pows in World War II: Stalag 17 on Stage and Screen." In: Modern war on stage and screen = Der moderne Krieg auf der Buhne / edited by Wolfgang Gortschacher and Holger Klein. pp: 333-53. Lewiston, N.Y. : Edwin Mellen Press, c1997.
Main Stack PN1650.W3.M64 1997 )

Sunset Boulevard

Afnan, Elham.
"Imaginative Transformations' Great Expectations and Sunset Boulevard."Dickensian, 1998 Spring, 94:1 (444), 5-12.

Agee, James.
"Sunset Boulevard." Sight & Sound, Nov 1950.

Coppedge,-Walter-R.
"Revisiting The Waste Land at 10086 Sunset Boulevard." West Virginia University Philological Papers, 1991, 37, 96-103.

Dean, Joan F.
"Sunset Boulevard: Illusion and Dementia." Revue Francaise d'Etudes Americaines, 1984 Feb., 9:19, 89-97.
"Billy Wilder's Sunset Boulevard incorporates elements of film noir in its essentially realistic style, inverts the established patterns of the backstage movie, and draws upon themes and character types familiar in American film and theater." [American History and Life]

Dickstein, Morris.
"'Sunset Boulevard'." Grand Street, 1988 Spring, 7:3, 176-184.

Gyurko, Lanin A.
"Fuentes' Aura and Wilder's Sunset Boulevard: A Comparative Analysis." Ibero-Amer.-Archiv 1984, 10:1, 45-86.

Gyurko, Lanin A.
"Myth and Mythification in Fuentes' Aura and Wilder's Sunset Boulevard." Hispanic Journal, 1985 Fall, 7:1, 91-113.

Kinder, Marsha
"Ideological parody in the new German cinema: reading The State of things, The Desire of Veronika Voss, and Germany pale mother as postmodernist rewritings of The Searchers, Sunset Boulevard, and Blonde Venus." Quarterly Review of Film and Video v 12 May 1990. p. 73-103

King, Kimball.
"Hollywood as Text in the Plays of Christopher Hampton, with Reference to David Rabe and Others." In: Hollywood on stage: playwrights evaluate the culture industry/ edited by Kimball King. pp: 185-92 New York: Garland Pub., 1997. Studies in modern drama.
Main Stack PS338.M67.H65 1997

Staggs, Sam. Close-up on Sunset Boulevard: Billy Wilder, Norma Desmond, and the dark Hollywood dream / Sam Staggs. 1st ed. New York: St. Martin's Press, 2002.
Main Stack PN1997.S845.S73 2002

Trowbridge, Katelin.
"The War between Words and Images-Sunset Boulevard." Literature-Film Quarterly.30(4):294-303. 2002
" "Sunset Boulevard, " directed by Billy Wilder, juxtaposed two elements of the movie industry, images and words and puts them in conflict. The conflict between the world of words, represented by screenwriter Joe Gillis, and images, represented by silent movie actress Norma Desmond, is analyzed." [Expanded Academic Index]



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