Edgar Ulmer’s Homicidal Noirs: Psychosis and Possession in Strange Illusion, Strange Woman, and Bluebeard
Edgar G. Ulmer: Detour on Poverty Row
Department of Literature and Modern Languages
Gary D. Rhodes
Edgar G. Ulmer: Detour on Poverty Row illuminates the work of this under-appreciated film auteur through 21 new essays penned by a range of scholars from around the globe. Ulmer, an immigrant to Hollywood who fell from grace in Tinseltown after only one studio film, became one of the reigning directors of Poverty Row B-movies.
Structured in four sections, Part I examines various contexts important to Ulmer's career, such as his work at the Producers Releasing Corporation (PRC), and his work in exploitation films and ethnic cinema. Part II analyzes Ulmer's film noirs, featuring an emphasis on Detour (1945) and Murder Is My Beat (1955). Part III covers a variety of Ulmer's individual films, ranging from Bluebeard (1944) and Carnegie Hall (1947) to The Man from Planet X(1951) and Daughter of Dr. Jekyll (1957). Part IV concludes the volume with a case study of The Black Cat (1934), offering three different analyses of Ulmer's landmark horror film.
Edgar G. Ulmer, homicidal noirs, psychosis
Arts and Humanities | Creative Writing | Film and Media Studies
Santos, M. (2008). Edgar Ulmer’s Homicidal Noirs: Psychosis and Possession in Strange Illusion, Strange Woman, and Bluebeard. Edgar G. Ulmer: Detour on Poverty Row, 133-144. Retrieved from https://nsuworks.nova.edu/shss_facbooks/80