The Night of the Hunter (1955)

Film Matters ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 158-162
Author(s):  
Devin Meenan
Keyword(s):  
Charles Laughton ◽  
Night Of The Hunter

USA Director Charles Laughton Runtime 93 minutes Blu-ray USA, 2014 Distributed by The Criterion Collection (region A/1)

scholarly journals BANISHED FROM PARADISE. GENESIS MOTIFS IN THREE COMING-OF-AGE FILMS: THE NIGHT OF THE HUNTER (CHARLES LAUGHTON, 1955), MOONFLEET (FRITZ LANG, 1955) AND EL ESPÍRITU DE LA COLMENA (VÍCTOR ERICE, 1973)

2020 ◽  
Vol 5 (3) ◽  
pp. 21-57
Author(s):  
Keyword(s):  
Coming Of Age ◽  
Fritz Lang ◽  
New Approach ◽  
Charles Laughton ◽  
Night Of The Hunter

This essay proposes a new approach to three fi lms, The Night of the Hunter (Charles Laughton, 1955), Moonfleet (Fritz Lang, 1955) and El espíritu de la colmena (Víctor Erice, 1973), by comparing and analysing structural and audiovisual elements that refer to the Fall of Man and Expulsion from Paradise Myth as a coming-of-age tale.

Charles Laughton in Hobson’s Choice

Close-Up ◽  
2018 ◽  
pp. 35-45
Author(s):  
Marcia Landy
Keyword(s):  
Charles Laughton

A discussion of Charles Laughton in Hobson’s Choice

Lear's Terrible Journey: Charles Laughton at Stratford, 1959

1988 ◽  
Vol 4 (16) ◽  
pp. 315-320
Author(s):  
Ken Carter
Keyword(s):  
Short Article ◽  
Charles Laughton ◽  
A Performance

Interest in Charles Laughton has recently been revived by the publication of Simon Callow's biography (Methuen, 1987), in which the author quoted from the personal recollections of a teacher. Ken Carter, whose view of Laughton's Stratford performance as Lear in 1959 ran counter to the critical dismissals which have otherwise come down to us. Carter expanded his views for a short article published in Drama (4–1987), and now provides a fuller account of a performance recollected in remarkable detail after almost thirty years. An Oxford graduate, Ken Carter has worked mainly as a teacher in London, with interludes near Bath and in Madrid.

Charles Laughton and I.

1940 ◽  
Vol 13 (5) ◽  
pp. 318
Author(s):  
Elsa Lanchester
Keyword(s):  
Charles Laughton

scholarly journals Night of the hunter: using cameras to quantify nocturnal activity in desert spiders

PeerJ ◽  
2021 ◽  
Vol 9 ◽  
pp. e10684
Author(s):  
Tamara I. Potter ◽  
Aaron C. Greenville ◽  
Christopher R. Dickman
Keyword(s):  
Fire History ◽  
Sand Dunes ◽  
Activity Patterns ◽  
Time Lapse ◽  
Camera Traps ◽  
Diel Activity ◽  
Wolf Spiders ◽  
Research Attention ◽  
Burned Areas ◽  
Night Of The Hunter

Invertebrates dominate the animal world in terms of abundance, diversity and biomass, and play critical roles in maintaining ecosystem function. Despite their obvious importance, disproportionate research attention remains focused on vertebrates, with knowledge and understanding of invertebrate ecology still lacking. Due to their inherent advantages, usage of camera traps in ecology has risen dramatically over the last three decades, especially for research on mammals. However, few studies have used cameras to reliably detect fauna such as invertebrates or used cameras to examine specific aspects of invertebrate ecology. Previous research investigating the interaction between wolf spiders (Lycosidae: Lycosa spp.) and the lesser hairy-footed dunnart (Sminthopsis youngsoni) found that camera traps provide a viable method for examining temporal activity patterns and interactions between these species. Here, we re-examine lycosid activity to determine whether these patterns vary with different environmental conditions, specifically between burned and unburned habitats and the crests and bases of sand dunes, and whether cameras are able to detect other invertebrate fauna. Twenty-four cameras were deployed over a 3-month period in an arid region in central Australia, capturing 2,356 confirmed images of seven invertebrate taxa, including 155 time-lapse images of lycosids. Overall, there was no clear difference in temporal activity with respect to dune position or fire history, but twice as many lycosids were detected in unburned compared to burned areas. Despite some limitations, camera traps appear to have considerable utility as a tool for determining the diel activity patterns and habitat use of larger arthropods such as wolf spiders, and we recommend greater uptake in their usage in future.

Notorious, The Paradine Case, Rope, Under Capricorn, Stage Fright

2020 ◽  
pp. 136-160
Author(s):  
Dan Callahan
Keyword(s):  
Stage Fright ◽  
Color Picture ◽  
Charles Laughton ◽  
Rare Instance ◽  
Liberated Women

Still in Ingrid Bergman’s thrall, Hitchcock made one of his most romantic pictures for her, Notorious (1946), in which she and Cary Grant work out many of the contrasts and tensions in their screen personas. Hitchcock was stymied by casting decisions not his own on The Paradine Case (1947), which was the last film he made for producer David O. Selznick, and then he foundered on miscasting again when James Stewart was given the central role of a queer academic in Rope (1948), his first color picture. Hitchcock made Under Capricorn (1949) as a valentine to Ingrid Bergman, allowing her to dominate an eight minute and forty-seven second take where her character confesses to a crime, a rare instance of acting for its own sake in Hitchcock’s work. Though Marlene Dietrich was superficially in the mode of the liberated women that Hitchcock enjoyed like Carole Lombard and Tallulah Bankhead, the Master was mainly bemused by Dietrich’s demands for special lighting in Stage Fright (1950), and so he lets her have her way as he lets Charles Laughton dominate Jamaica Inn.

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