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Film Noir and the Cinema of Paranoia$
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Wheeler Winston Dixon

Print publication date: 2005

Print ISBN-13: 9780748623990

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623990.001.0001

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1950s Death Trip

1950s Death Trip

(p.56) Chapter 3 1950s Death Trip
Film Noir and the Cinema of Paranoia

Wheeler Winston Dixon

Edinburgh University Press

Film noir and its various iterations were certainly not confined to America. In the late 1950s and early 1960s, there was still a market, and a social need, for the ‘B’ feature in Britain. In 1956, Edward J. and Harry Lee Danziger opened their New Elstree Studios dedicated to the production of low-budget films and teleseries. The Danzigers' telefilms and modest program pictures can correctly be seen as early examples of inverse-colonialism in the production of imagistic commerce. A typically intriguing project is High Jump, which stars Richard Wyler and Lisa Daniely. Another Danziger second feature of the period is Feet of Clay (1960). In another British independent studio, Diana Dors, then the reigning ‘bad girl’ of British cinema, memorably starred as a violent killer in J. Lee Thompson's modestly budgeted Yield to the Night (1956). Arguably the most authentically noir vision of the western appears in an unlikely form; the films of one of the last undeniable stars of the genre, Audie Murphy.

Keywords:   B feature, film noir, Britain, Audie Murphy, inverse-colonialism, High Jump, Feet of Clay, Diana Dors, Yield to the Night, teleseries

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