LEADER 04309nam 2201021 450 001 9910820190203321 005 20230803021929.0 010 $a0-520-95717-2 024 7 $a10.1525/9780520957176 035 $a(CKB)2550000001128077 035 $a(SSID)ssj0001040450 035 $a(PQKBManifestationID)11595352 035 $a(PQKBTitleCode)TC0001040450 035 $a(PQKBWorkID)11001239 035 $a(PQKB)10867401 035 $a(MiAaPQ)EBC1445932 035 $a(DE-B1597)520865 035 $a(OCoLC)1055316215 035 $a(DE-B1597)9780520957176 035 $a(Au-PeEL)EBL1445932 035 $a(CaPaEBR)ebr10779325 035 $a(CaONFJC)MIL528711 035 $a(OCoLC)861558915 035 $a(EXLCZ)992550000001128077 100 $a20130705d2013 ub 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aEdgar G. Ulmer $ea filmmaker at the margins /$fNoah Isenberg 210 1$aBerkeley :$cUniversity of California Press,$d2013. 215 $a1 online resource (384 pages) 225 1 $aWeimar and now: German cultural criticism 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-23577-0 311 $a1-299-97460-0 320 $aIncludes bibliographical references and index. 327 $aPreface -- Traces of a Viennese youth -- Toward a cinema at the margins -- Hollywood horror -- Songs of exile -- Capra of PRC -- Back in black -- Independence days -- Postscript. 330 $aEdgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors-Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer's personal life and a thorough analysis of his wide-ranging, eclectic films-features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer's unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer's fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.   410 0$aWeimar and now. 606 $aMotion picture producers and directors$zUnited States$vBiography 610 $a20th century directors. 610 $aamerican films. 610 $aaustrian american. 610 $aaustrian directors. 610 $aauteur theory. 610 $ab movies. 610 $adetour. 610 $adirectors. 610 $aeclectic films. 610 $aemigre directors. 610 $afilm criticism. 610 $afilm director. 610 $afilm history. 610 $afilm noir. 610 $afilm. 610 $afilmmaker. 610 $agenre films. 610 $agerman directors. 610 $ahollywood career. 610 $ahollywood. 610 $ahorror films. 610 $ajewish film directors. 610 $alow budget productions. 610 $aminority audience. 610 $amovies. 610 $anoir. 610 $apeople on sunday. 610 $aperforming arts. 610 $apersonal life. 610 $aruthless. 610 $asci fi films. 610 $astudio era. 610 $athe black cat. 610 $aunconventional. 615 0$aMotion picture producers and directors 676 $a791.43/0233092 676 $aB 686 $aAP 51400$2rvk 700 $aIsenberg$b Noah William$01613834 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910820190203321 996 $aEdgar G. Ulmer$93943336 997 $aUNINA