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Anatole Litvak

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Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
...Seth Watter This article examines the simultaneous gendering and pathologization of screen space in two films directed by Anatole Litvak, The Snake Pit and Sorry, Wrong Number (US, 1948), released within months of each other. It focuses on two formal phenomena: the morbid close-up and the curlicue...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 188–190.
Published: 01 December 2015
... Womanhood. No. 88: pp. 129 – 53 190  •  Camera Obscura Seth Watter Close-Ups and Curlicues: Female Neurosis in Two Films by Anatole Litvak. No. 90: pp. 93 – 127 Brenda R. Weber, see Jennifer Lynn Jones and Brenda R. Weber Brenda R. Weber, see Lynne Joyrich, Misha Kavka, and Brenda R...
Journal Article
Camera Obscura (2002) 17 (3 (51)): 71–113.
Published: 01 December 2002
... connected to mobile telephony. Burt Lancaster and Barbara Stanwyck in Sorry, Wrong Number (dir. Anatole Litvak, US, 1948). Courtesy Academy of Motion Picture Arts and Sciences Projections and Intersections: Paranoid Textuality in Sorry, Wrong Number David Crane Plots originate in knots...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
.... Anatole Litvak, US, Laura (dir. Otto Preminger, US, Experiment Perilous (dir. Jacques Tourneur, US, and The Strange Love of Martha Ivers (dir. Lewis Milestone, US, follow the generic mix of a women’s melodrama and a “woman with a past.” Johnson, Man in the Gray Flannel...
Journal Article
Camera Obscura (2004) 19 (3 (57)): 187–219.
Published: 01 December 2004
..., Psychoanalysis (New York: Routledge, 1991), 7–32. 13. For interesting readings of two other films (Pillow Talk [dir. Michael Gordon, US, 1959] and Sorry, Wrong Number [dir. Anatole Litvak, US, 1948]) that also make heavy use of the telephone, see E. L. McCallum, “Mother Talk: Maternal...