Jack Pierce: The Man Behind The Monsters by Scott Essman

By Scott Essman

Jack Pierce: the fellow in the back of The Monsters chronicles the occupation exploits of Universal's vintage monster author, Jack Pierce, who used to be with the studio in the course of their horror heyday of 1928-1947. After freelancing in Hollywood's earliest days as an actor, stuntman and assistant director, Pierce flourished in make-up within the 1910s and Twenties, first making himself into any number of motion picture extras known as for on fledgling studio plenty.

Then, from 1930-1947, Pierce created a few of cinema history's such a lot distinguishable icons of fright, together with Frankenstein's Monster, the mum, The Bride of Frankenstein, Ygor, The Wolf guy, and The Phantom of the Opera between his many vintage creations. Contained during this exact book are specified textual content and pictures from each major movie of Pierce's occupation, spanning the mid-1910s to the mid-1960s.

Show description

By Scott Essman

Jack Pierce: the fellow in the back of The Monsters chronicles the occupation exploits of Universal's vintage monster author, Jack Pierce, who used to be with the studio in the course of their horror heyday of 1928-1947. After freelancing in Hollywood's earliest days as an actor, stuntman and assistant director, Pierce flourished in make-up within the 1910s and Twenties, first making himself into any number of motion picture extras known as for on fledgling studio plenty.

Then, from 1930-1947, Pierce created a few of cinema history's such a lot distinguishable icons of fright, together with Frankenstein's Monster, the mum, The Bride of Frankenstein, Ygor, The Wolf guy, and The Phantom of the Opera between his many vintage creations. Contained during this exact book are specified textual content and pictures from each major movie of Pierce's occupation, spanning the mid-1910s to the mid-1960s.

Show description

Read or Download Jack Pierce: The Man Behind The Monsters PDF

Best film books

Understanding Movies (11th Edition)

Is helping readers know the way the numerous languages of movie interact to create which means. Louis Giannetti organizes realizing videos round the key parts of filmmaking, together with cinematography, Mise en Scène, circulate, enhancing, sound, appearing, drama, casting, tale, screenwriting, ideology, and conception.

The Good, the Bad and the Ugly

Novelisation of Sergio Leone's Spaghetti Western "The sturdy, The undesirable and the Ugly" starring Clint Eastwood and Lee Van Cleef.

Scanned by means of me.

Rivette: Texts and Interviews

Instead of be thought of in isolation, this e-book can be considered as a part of a common attempt to make the paintings of Jacques Rivette on hand, in each experience of the time period. this isn't to indicate that the subsequent texts and interviews are being provided as a trifling complement to his movies: if the full physique of Rivette’s paintings may be learn as a sequence of evolving reflections at the cinema, the severe paintings contained during this quantity is indissolubly associated with the severe paintings represented through his film-making.

The Very Witching Time of Night: Dark Alleys of Classic Horror Cinema

The e-book covers strange and sometimes magnificent components of horror movie background: The harrowingly tragic lifetime of Dracula's major woman, Helen Chandler, as in detail remembered through her sister-in-law. John Barrymore's 1931 horror autos Svengali and The Mad Genius, and their rejection by means of the general public.

Additional resources for Jack Pierce: The Man Behind The Monsters

Sample text

Tracy’s angry outburst when Jed warns her not to harm “the kid” could as easily be the words of a woman infuriated with an unwanted pregnancy as a criminal wanting to eliminate an eyewitness. Furiously reviling the boy as “a little fucking troll who deserves to be put out of his misery for fucking up my life,” Tracy gives expression to an infanticidal rage that far exceeds the portrait of a greedy woman that her mother painted for Andy. Yet this eruption elicits as much spectatorial delight as shock.

For a discussion that explores noir through narrative strategies, see Telotte. For a definition through plot, see Damico. For a provocative argument against the legitimacy of the term, see Vernet. 2. As it often happens in the belated world of neo-noir, this characterological subterfuge is not new. Concealing the femme fatale behind a mask of innocence goes back at least as far as Otto Preminger’s ¡953 Angel Face. The di›erence is that Malice’s young heroine is not an ingenue but pretends to have maternal aspirations.

The Mannerist contaminatio comes from the conflation of Damico’s noir plot with a detective plot initiated by the protagonist. In Malice, the noir’s story of transgressive desire and crime is subordinated to the story of the hero’s violent initiation into masculinity. The first model that leaps to mind is Sam Peckinpah’s Straw Dogs (¡97¡)— with its bloodied academic protagonist facing murderous violence from other men and estrangement from his marriage. But even that film, over twenty years before Malice, had elements of Mannerism, as it used excesses of sex and violence, along with assaultive editing techniques, to give one more turn on what was already a well-worn cinematic formula.

Download PDF sample

Rated 4.61 of 5 – based on 28 votes