Billy Wilder, Movie-Maker

Karen McNally is senior lecturer of Film Studies at London Metropolitan University. She has also written on Frank Sinatra and American Male identity, and has contributed to numerous journals and edited collections.

• Table of ContentsACKNOWLEDGMENTS      INTRODUCTIONKaren McNally      Part One: Matters of Genre1. What Exposure Is the World? The Desert Noir of Ace in the HolevLance Duerfahrd      2. An Unconventional War Film: Death, Disguise and Deception in Five Graves to CairoDale M. Pollock      3. Syncope, Syncopation: Musical Hommages to EuropeKatherine Arens      4. Realistic Horror: Film Noir and the 1940s Horror CycleMark Jancovich      Image and Identity5. Shame and the Single Girl: Reviving Fran and Falling for Baxter in The ApartmentAlison R. Hoffman      6. “Have They Forgotten What a Star Looks Like?” Image and Theme with Dino, Cagney and FedoraKaren McNally      7. Phenomenological Masking: Complications of Identity in Double IndemnityPhillip Sipiora      Part Three: Production and Reception8. “A Small, Effective Organization”: The Mirisch Company, the Package-Unit System, and the Production of Some Like It HotPaul Kerr      9. “Esthetically As Well as Morally Repulsive”: Kiss Me, Stupid, “Bilious Billy,” and the Battle of Middlebrow TasteKen Feil      10. Censorship, Negotiation and Transgressive Cinema: Double Indemnity, Some Like It Hot and Other Controversial Movies in the United States and EuropeDaniel Biltereyst      Part Four: Europe, America and Beyond11. “I Don’t Have a Home!” Paris Interregnum in Mauvaise graineLeila Wimmer      12. Palimpsest: The Double Vision of ExileNancy Steffen-Fluhr      13. Sabrina, Hollywood and Postwar InternationalismDina Smith      14. Evolving Modernities: Formation of the Urban Imagination in Hindi CinemaSunny Singh      BIBLIOGRAPHY      ABOUT THE CONTRIBUTORS      INDEX

“in-depth”—SciTech book News; “some of the freshest and most insightfully written examinations on Billy Wilder to date...fascinating collection...an exceptionally valuable undertaking...engaging and thought provoking”—Professor Robert Dassanowsky, Senses of Cinema.