Peeping Tom (1960 film)

Peeping Tom
Theatrical release poster
Directed byMichael Powell
Written byLeo Marks
Produced byMichael Powell
Starring
CinematographyOtto Heller
Edited byNoreen Ackland
Music byBrian Easdale
Production
company
Michael Powell (Theatre)
Distributed byAnglo-Amalgamated Film Distributors
Release date
  • 7 April 1960 (1960-04-07)
Running time
101 minutes[1]
CountryUnited Kingdom
LanguageEnglish
Budget£133,394[2]
Box office$149,495[3]

Peeping Tom is a 1960 British psychological horror-thriller film[4] directed by Michael Powell, written by Leo Marks, and starring Carl Boehm, Moira Shearer, Anna Massey and Maxine Audley.[5] The film revolves around a serial killer who murders women while using a portable film camera to record their dying expressions of terror, putting his footage together into a snuff film used for his own self-pleasure. Its title derives from the expression "Peeping Tom", which describes a voyeur.

The film's controversial subject matter and its extremely harsh reception by critics had a severely negative impact on Powell's career as a director in the United Kingdom.[6] However, it attracted a cult following, and in later years, it has been re-evaluated and is now widely considered a masterpiece,[7][8] and a progenitor of the contemporary slasher film.[6] The British Film Institute named it the 78th greatest British film of all time,[9] and in 2017 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the 27th best British film ever.[10]

The music score was written by Brian Easdale and performed by Australian pianist Gordon Watson.

Plot

Carl Boehm as Mark Lewis

In London, Mark Lewis picks up Dora, a prostitute, covertly filming her with a camera hidden under his coat. Shown from the point of view of the camera viewfinder, he follows her into her flat, murders her with a blade concealed in one leg of his tripod, and later watches the film in his darkroom. The following morning, posing as a reporter, he films the police removing Dora's corpse from her home.

Lewis is a member of a film crew (a focus puller) who aspires to become a filmmaker himself. He also works part-time photographing soft-porn pin-up pictures of women, sold under the counter. He is a shy, reclusive young man who hardly socialises outside of his workplace. He lives in the house of his late father, renting most of it via an agent while posing as a tenant himself. Helen Stephens, a sweet-natured young woman who lives with her blind mother in the flat below his, befriends him out of curiosity after he is discovered spying on her 21st birthday party.

Mark reveals to Helen through home films taken by his father that, as a child, he was used as a guinea pig for his father's studies on fear in children. Mark's father would study his son's reaction to various stimuli, such as large lizards he put on his bed, and would film the boy in all sorts of situations, even recording Mark's reactions at his mother's deathbed. (He married another woman suspiciously soon afterwards.) His studies enhanced his reputation as a renowned psychologist.

Mark arranges with Vivian, a stand-in at the studio, to make a film after the set is closed; he then kills her and stuffs her into a prop trunk. The body is discovered later during shooting by Pauline, a cast member who has already antagonised the fussy director by acting a faint badly, and then actually fainting from exhaustion at the many retakes. The police link the two murders and notice that each victim died with a look of utter terror on her face. They interview everyone on the set, including Mark, who always keeps his camera running, claiming that he is making a documentary.

Helen goes out to dinner with Mark, persuading him to leave his camera behind for once, and briefly kisses him once they return. Her mother finds his behavior peculiar, being aware, despite her blindness, that Mark often looks through Helen's window. She is waiting inside Mark's flat after his evening out with her daughter. Unable to wait until she leaves due to his compulsion, he begins screening his latest snuff film with her still in the room. She senses how emotionally disturbed he is and threatens to move, but Mark reassures her that he will never photograph or film Helen.

A psychiatrist is called to the set to counsel Pauline. He chats with Mark and is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Mark has "his father's eyes". Mark is tailed by the police to the newsagents, where he takes photographs of pin-up model Milly. Shortly afterwards, it emerges that Mark has killed Milly.

Helen, who is curious about Mark's films, finally runs one of them. She becomes upset and then frightened when he catches her. Mark reveals that his father not only filmed his experiments on him, but recorded them and has wired the house, and he plays a recording of her with her boyfriend. Mark makes his films so that he can capture the fear of his victims. He has mounted a mirror on his camera so that he can film his victims' reactions as they see their own impending deaths. He points the tripod's blade towards Helen's throat and we see her reaction distorted in the mirror, but he cannot kill her.

The police approach and Mark hears their sirens. As he planned from the very beginning, he impales himself on the knife with the camera running, providing the finale for his documentary. Helen cries over Mark's dead body as the police enter the room. As the scene fades, we hear a recording of his father calling him a good boy.

Cast

Themes

Peeping Tom has been praised for its psychological complexity,[11] which incorporates the "self-reflexive camera" as a plot device, as well as the themes of child abuse, sadomasochism, and scopophilic fetishism.[12] On the surface, the film is about the Freudian relationships between the protagonist and, respectively, his father, and his victims. However, several critics argue that the film is as much about the voyeurism of the audience as they watch the protagonist's actions. Roger Ebert, in his 1999 review of the film for his "Great Films" series, states that "the movies make us into voyeurs. We sit in the dark, watching other people's lives. It is the bargain the cinema strikes with us, although most films are too well-behaved to mention it".[13]

According to Paul Wells, the film deals with the anxieties of British culture in regarding sexual repression, patriarchal obsession, voyeuristic pleasure and perverse violence. The impossible task in the film is the quest to photograph fear itself.[14]

In the opinion of Peter Keough, the death scenes of the film would provide a field day to Freudian psychoanalysis and deconstructionists. Cinema here is equated to sexual aggression and a death wish, the camera to the phallus, photography to violation, and film to ritualized voyeurism. The emphasis of the film lies on morbidity, not on eroticism. In a memorable sequence, an attractive, semi-nude female character turns to the camera and reveals a disfiguring facial scar. This Peeping Tom is aroused not by naked bodies, but naked fear. As Mark laments, whatever he photographs is lost to him. Mark is a loner whose only companion is his film camera. He is also the victim of his father's studies in the phenomenon of fear in children, a human guinea pig subjected to sadistic experiments. His love interest Helen has her own fascination with a morbid gaze. She is a children's writer whose book concerns a magic camera and what it photographs.[15]

Relationship with Hitchcock's films

The themes of voyeurism in Peeping Tom are also explored in several films by Alfred Hitchcock. In his book on Hitchcock's 1958 film Vertigo, film historian Charles Barr points out that the film's title sequence and several shots seem to have inspired moments in Peeping Tom.[16]

Chris Rodley's documentary A Very British Psycho (1997) draws comparisons between Peeping Tom and Hitchcock's Psycho (1960); the latter film was given its New York premiere in June 1960, two months after Peeping Tom's premiere in London. Both films feature as protagonists atypically mild-mannered serial killers who are obsessed with their parents. However, despite containing material similar to Peeping Tom, Psycho became a box-office success and only increased the popularity and fame of its director (although the film was widely criticised in the English press). One reason suggested in the documentary is that Hitchcock, seeing the negative press reaction to Peeping Tom, decided to release Psycho without a press screening.[17]

In his early career, Powell worked as a stills photographer and in other positions on Hitchcock's films, and the two were friends throughout their careers. A variant of Peeping Tom's main conceit, The Blind Man, was one of Hitchcock's unproduced films around this time. Here, a blind pianist receives the eyes of a murder victim, but their retinas retain the image of the murder.

According to Isabelle McNeill, the film fits well within the slasher film subgenre, with Peeping Tom being considered the first slasher film in history. She lists a number of elements which it shares with both Psycho and the genre in general:[18]

  • A recognisably human killer, who stands as the psychotic product of a sick family;
  • The victim being a beautiful and sexually active woman;
  • The location of the murder being not within a home, but within some other "terrible place";
  • The weapon being something other than a gun;
  • The attack registered from the victim's point of view and coming with shocking suddenness;

She finds that the film actually goes further than Psycho into slasher territory through introducing a series of female victims, and with Helen Stephens functioning as the bright and sympathetic final girl.[18]

Production

Writing

Screenwriter Leo Marks based portions of the film on his experience growing up as the son of Benjamin Marks, who owned the Marks & Co bookshop in London; elements of Peeping Tom is based on his observations of inner-city residents who frequented his father's store.[17] Dora, the prostitute who is murdered in the film's opening scene, was based on a real-life prostitute who was a regular patron of the Marks & Co book store.[17] Additionally, Marks stated he was inspired to write a horror story and to become a codebreaker after reading "The Gold-Bug" by American writer Edgar Allan Poe.[17] While writing the script, Marks believed the motivations behind Lewis' murder to be entirely sexual, though he would state in retrospect that he felt the psychological compulsion of the character was less sexual than it was unconscious.[17] Prior to writing the screenplay for Peeping Tom, Marks, a polymath, had worked as cryptographer during World War II.[17]

Casting and filming

Cohen originally wanted a star to play the lead role and suggested Dirk Bogarde, but the Rank Organisation, who had him under contract, refused to loan him out. Laurence Harvey was attached for a while but pulled out during pre-production and Powell ended up casting German-Austrian actor Karlheinz Böhm (billed as Carl Boehm).[19] Böhm, who was a friend of Powell's, noted that their prior acquaintance helped him psychoanalyze and "go into very, very special details" of the character.[17] Böhm saw Lewis as a sympathetic character, whom he felt "great pity" for.[17] In a 2008 interview, Böhm stated that he could identify with the character because he also stood for a long time in the shadow of his famous father, conductor Karl Böhm, and had a difficult relationship with him.[20] Böhm also stated that he interpreted his character as being traumatized by growing up under the Nazi Regime.[21]

Pamela Green, then a well-known glamour model in London, was cast in the role of Milly, one of Lewis's victims, who appears nude onscreen in the moments leading up to her murder scene.[17] Her appearance marked the first scene in British cinema to feature frontal nudity.[17][22]

Filming took six weeks beginning in October 1959.[23] The film was financed by Nat Cohen and Stuart Levy at Anglo-Amalgamated with other funds from the National Film Finance Corporation.[24]

Release

Peeping Tom was first released in the United Kingdom by Anglo-Amalgamated, premiering in London on 7 April 1960.[25] It is often considered part of a Sadean trilogy with Horrors of the Black Museum (1959) and Circus of Horrors (1960). The three films had different production companies but the same distributor. They are connected through their themes of voyeurism, disfigurement, and sadistic figures. Anglo-Amalgamated films were typically released in the United States by American International Pictures through a deal between the two companies. But AIP was not interested in releasing Peeping Tom, apparently skeptical of its ability to satisfy audiences.[26]

In the United States, the film was released by importer and distributor Astor Pictures in 1962. It was released simultaneously to the markets for genre horror films, art films, and exploitation films. It failed to find an audience and was one of the least successful releases by Astor. The film received a B rating from the National Legion of Decency, signifying "morally objectionable in part" content. The organisation identified voyeurism and sadism as key elements of the film in its rating.[27]

Censorship

When Peeping Tom was first released in Italy in 1960, the Committee for the Theatrical Review of the Italian Ministry of Cultural Heritage and Activities rated it as VM16: not suitable for children under 16. The reason for the age restriction, cited in the official documents, is: the storyline is shocking and several scenes are not suitable for minors.[28][better source needed] In order for the film to be screened publicly, the Committee imposed the removal of two scenes taking place in the photographer's studio, in particular, those in which Milly is shown alone, fully dressed and half-undressed, in front of the mirror, in addition to two other scenes showing a woman lying on the bed excessively half-undressed.[28] The film was banned in Finland until 1981.[29]

Home media

Peeping Tom has received several DVD releases. In the United Kingdom, it was released by Studio Canal and Warner Bros., and later in a six-DVD box set which also includes the films I Know Where I'm Going! (1945) and A Canterbury Tale (1944). In 2007, it received a new DVD release from Optimum Releasing in the United Kingdom, followed by a 50th Anniversary Blu-ray release in 2010.[30]

The film was released in the United States by The Criterion Collection on LaserDisc on 23 March 1994[31] and on DVD on 16 November 1999.[32] A 4K restoration of the film was released on Blu-ray in the UK on 29 January 2024 by StudioCanal[33] and in the US on 14 May 2024 by The Criterion Collection.[34][35] It began streaming on Kanopy on 31 May 2024.[36]

Reception

Contemporaneous

Peeping Tom's depiction of violence and its lurid sexual content made it a controversial film on initial release[37] and the critical backlash heaped on the film was a major factor in finishing Powell's career as a director in the United Kingdom.[38] Karlheinz Böhm later recalled that after the premiere nobody from the audience went to shake either his hand or Powell's.[21] A later assessment of the film published in The Daily Telegraph noted that the film effectively "killed" Powell's career.[4] British reviews tended towards the hyperbolic in negativity, an example being a review published in The Monthly Film Bulletin which likened Powell to the Marquis de Sade.[39]

Derek Hill, reviewer of Tribune magazine suggested that "the only really satisfactory way to dispose of Peeping Tom would be to shovel it up and flush it swiftly down the nearest sewer".[40] Len Mosley, writing for the Daily Express, said that the film was more nauseating and depressing than the leper colonies of East Pakistan, the back streets of Bombay, and the gutters of Calcutta.[41] Caroline Lejeune of The Observer wrote: "It's a long time since a film disgusted me as much as Peeping Tom", ultimately deeming it a "beastly film".[40]

Critical reappraisal

Peeping Tom earned a cult following in the years after its initial release, and since the 1970s has received a critical reappraisal. Powell noted ruefully in his autobiography: "I make a film that nobody wants to see and then, thirty years later, everybody has either seen it or wants to see it".[42] An account of the film's steady reappraisal can be found in Scorsese on Scorsese, edited by Ian Christie and David Thompson. Martin Scorsese mentions that he first heard of the film as a film student in the early 1960s, when Peeping Tom opened in only one cinema in Alphabet City, which, Scorsese notes, was a seedy district of New York. The film was released in a cut black-and-white print but immediately became a cult fascination among Scorsese's generation.[22] Scorsese states that the film, in this mutilated form, influenced Jim McBride's David Holzman's Diary. Scorsese himself first saw the film in 1970 through a friend who owned an uncut 35mm colour print. In 1978, Scorsese was approached by a New York distributor, Corinth Films, which asked for $5,000 for a wider re-release. Scorsese gladly complied with their request, which allowed the film to reach a wider audience than its initial cult following.[43] Vincent Canby wrote of the film in The New York Times in 1979:

When Michael Powell's Peeping Tom was originally released in England, in 1960, the critics rose up like a bunch of furious Reverend Davidsons to condemn it on moral grounds. "It stinks", one critic wrote. Another thought it should be flushed down the sewer, and a third dismissed it haughtily as "perverted nonsense". There is nothing angrier than a critic when he can be safely outraged... Peeping Tom's rediscovery, I fear, tells us more about fads in film criticism than it does about art. Only someone madly obsessed with being the first to hail a new auteur, which is always a nice way of calling attention to oneself, could spend the time needed to find genius in the erratic works of Mr. Powell.[44]

Film theorist Laura Mulvey echoed a similar sentiment, writing: "Peeping Tom is a film of many layers and masks; its first reviewers were unable even to see it at face value. Entrenched in the traditions of English realism, these early critics saw an immoral film set in real life whose ironic comment on the mechanics of film spectatorship and identification confused them as viewers. But Peeping Tom offers realistic cinematic images that relate to the cinema and nothing more. It creates a magic space for its fiction somewhere between the camera’s lens and the projector’s beam of light on the screen".[45]

Before his death in 1990, Powell saw the reputation of Peeping Tom rise. Contemporarily, the film is considered a masterpiece and among the best horror films of all time.[46] In 2004, Total Film magazine named Peeping Tom the 24th greatest British film of all time,[47] and in 2005, the same magazine listed it as the 18th greatest horror film of all time.[48] The film contains the 38th of Bravo Channel's 100 Scariest Movie Moments.[49] The Guardian named it the 10th best horror film of all time in 2010,[50] and a 2017 review in The Daily Telegraph of the best British films ever made, states, "contemporary critics in 1960 may have overlooked that voyeurism was its central theme. But who is the voyeur?"[46]

Martin Scorsese, who has long been an admirer of Powell's works, has stated that this film, along with Federico Fellini's (1963), contains all that can be said about directing:

I have always felt that Peeping Tom and say everything that can be said about film-making, about the process of dealing with film, the objectivity and subjectivity of it and the confusion between the two. captures the glamour and enjoyment of film-making, while Peeping Tom shows the aggression of it, how the camera violates... From studying them you can discover everything about people who make films, or at least people who express themselves through films.[4]

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 95% based on 64 reviews, with an average rating of 8.8/10. The website's critics consensus reads, "Peeping Tom is a chilling, methodical look at the psychology of a killer, and a classic work of voyeuristic cinema."[51]

Cultural references

  • Mike Patton's band Peeping Tom, and its 2006 self-titled album, are named in tribute to this film.[52]
  • During a reminiscence in David Foster Wallace's novel Infinite Jest (1996), Dr. James O. Incandenza, the man who went on to make a film that literally kills its audience, refers to having "still-posters from Powell's Peeping Tom" in his childhood bedroom.[53]
  • In Scream 4 (2011), the killer Ghostface directly references Peeping Tom while quizzing a victim.[54] In this entry and in Scream 2 (1997), a killer under the Ghostface identity films their murders. Similarly, Ghostface killers in other entries commit their killing sprees with the intention that they would be recreated in film.
  • A dialog of the film has been sampled for the beginning of Railway Jam on the So Tough album (1993) by Saint Etienne.[55]
  • A campaign video for the 2014 spring/summer Alexander McQueen collection was based on the opening scene of the film. The video features Kate Moss in the role of the killer's victim.[56]
  • Edgar Wright's Last Night in Soho (2021) is heavily inspired, both thematically and in the use of film language, by the film.[57]

See also

References

  1. ^ "Peeping Tom (15)". British Board of Film Classification. 16 September 1994. Retrieved 29 October 2022.
  2. ^ Chapman, James (2022). The Money Behind the Screen: A History of British Film Finance, 1945–1985. Edinburgh University Press. p. 360. ISBN 9781399500760.
  3. ^ "Peeping Tom (1960)". The Numbers. Retrieved 26 January 2024.
  4. ^ a b c Gritten, David (27 August 2010). "Michael Powell's 'Peeping Tom': the film that killed a career". The Daily Telegraph. Retrieved 19 July 2018.
  5. ^ "Peeping Tom". British Film Institute Collections Search. Retrieved 18 August 2024.
  6. ^ a b Navarro, Meagan (2 October 2023) [30 November 2018]. "The 30 Most Influential Slasher Movies of All Time". Vulture. Retrieved 2 September 2023. The backlash for this British psychological horror film was so strong upon release that director Michael Powell never made another British film again.
  7. ^ Forshaw 2012, p. 56.
  8. ^ Crouse 2003, p. 167.
  9. ^ Eckel 2014, p. 167.
  10. ^ Calhoun, Dave; Huddleston, Tom; Jenkins, David; Adams, Derek; Andrew, Geoff; Davies, Adam Lee; Fairclough, Paul; Hammond, Wally (17 February 2007). "The 100 best British films". Time Out London. Retrieved 24 October 2017.
  11. ^ Duguid, Mark. "Peeping Tom (1960)". Screenonline. Retrieved 19 March 2007.
  12. ^ Rockoff 2011, p. 29.
  13. ^ Ebert, Roger (2 May 1999). "Great Movie: Peeping Tom". Chicago Sun-Times. Retrieved 18 September 2006 – via RogerEbert.com.
  14. ^ Wells 2000, p. 68.
  15. ^ Keough 2005, pp. 219–21.
  16. ^ Barr 2002, p. 18.
  17. ^ a b c d e f g h i j Rodley, Chris (dir.) (1997). Peeping Tom (A Very British Psycho Documentary) (DVD). The Criterion Collection.
  18. ^ a b McNeill 2008, p. 103–108.
  19. ^ Hamilton 2013, p. 79.
  20. ^ Maack, Benjamin (14 March 2008). "Filmlegende Karlheinz Böhm". Der Spiegel (in German).
  21. ^ a b Buhre, Jakob (January 2003). "Karlheinz Böhm im Interview: "Ich finde es deprimierend, dass man in den Zeitungen nur noch über Afrika liest, wenn wieder eine Dürrekatastrophe ausbricht."". Planet Interview (in German).
  22. ^ a b Meehan 2010, p. 191.
  23. ^ Hamilton 2013, p. 80.
  24. ^ Heffernan, Kevin (2014). "A's, B's, Quickies, Orphans, and Nasties: Horror Films in the Context of Distribution and Exhibition". In Benshoff, Harry M. (ed.). A Companion to the Horror Film. Chichester: Wiley-Blackwell. p. 115. ISBN 978-0-470-67260-0.
  25. ^ Purath 2002, p. 2.
  26. ^ Heffernan 2004, pp. 128–31.
  27. ^ Heffernan 2004, pp. 114–15.
  28. ^ a b "Italia Taglia". Committee of Theatrical Review (in Italian). Ministry of Cultural Heritage and Activities and Tourism. Retrieved 19 July 2018.
  29. ^ "Peeping Tom (1960)". Elonet (in Finnish). Archived from the original on 22 September 2013. Retrieved 19 July 2018.
  30. ^ Brunsting, Joshua (1 November 2010). "Optimum Home Entertainment to Release Peeping Tom Blu-ray for 50th Anniversary in the UK". CriterionCast. Retrieved 21 November 2017.
  31. ^ "Peeping Tom: Special Edition #156 (1960) [CC1299L]". LaserDisc Database. Retrieved 25 September 2018.
  32. ^ Peeping Tom (The Criterion Collection). ISBN 0780022629.
  33. ^ Baker, Neil (9 January 2024). "NEWS – Studiocanal announces the arrival of Michael Powell's Peeping Tom on 4K Blu-Ray". Cinerama. Retrieved 29 July 2024.
  34. ^ "Peeping Tom [CC1299L]". The Criterion Collection. Retrieved 22 February 2024.
  35. ^ Wilkins, Budd (24 May 2024). "4K UHD Blu-ray Review: Michael Powell's Peeping Tom on the Criterion Collection". Slant Magazine. Retrieved 29 July 2024.
  36. ^ Kirchgessner, Brian (28 April 2024). "Every Movie Coming to Kanopy in May 2024". MovieWeb. Retrieved 6 June 2024.
  37. ^ "Peeping Tom". British Board of Film Classification. Archived from the original on 26 October 2014. Retrieved 9 November 2015.
  38. ^ Crook, Steve (January 2006). "The Killer Reviews". The Powell & Pressburger Pages. Retrieved 28 December 2016.
  39. ^ Hamilton 2013, p. 83.
  40. ^ a b Feaster, Felicia. "Peeping Tom". Spotlight. Turner Classic Movies. Archived from the original on 14 March 2017. Retrieved 23 December 2016.
  41. ^ Keough 2005, pp. 219–21.
  42. ^ Nordine, Michael (18 January 2013). "5 Notoriously Terrible Films That Actually Aren't So Terrible". LA Weekly. Archived from the original on 28 January 2021. Retrieved 28 October 2022.
  43. ^ Higgins, Charlotte (9 November 2010). "Martin Scorsese restores British masterpiece". The Guardian. Retrieved 22 November 2017.
  44. ^ Canby, Vincent (14 October 1979). "Film: Michael Powell's 'Peeping Tom'". The New York Times. Archived from the original on 16 December 2013. Retrieved 22 November 2017.
  45. ^ Mulvey, Laura (15 November 1999). "Peeping Tom". The Criterion Collection. Retrieved 22 November 2017.
  46. ^ a b "The 75 best British films ever made". The Daily Telegraph. 5 October 2017. Archived from the original on 13 March 2017. Retrieved 22 November 2017.
  47. ^ "Total Film's 50 Greatest British Movies Ever". Listal. Archived from the original on 24 June 2011. Retrieved 11 December 2009.
  48. ^ Graham, Jaimie (10 October 2005). "Shock Horror! Total Film Proudly Hails The 50 Greatest Horror Movies of All Time". Total Film. Retrieved 5 December 2013.
  49. ^ "The 100 Scariest Movie Moments". Bravo. Archived from the original on 13 July 2006. Retrieved 29 June 2006.
  50. ^ Fox, Killian (22 October 2010). "Peeping Tom: No. 10 best horror film of all time". The Guardian. Retrieved 22 November 2017.
  51. ^ "Peeping Tom". Rotten Tomatoes. Retrieved 29 July 2024.
  52. ^ Deline, Chris (1 June 2006). "Interview with Mike Patton". Culture Bully. Archived from the original on 13 February 2011. Retrieved 31 July 2007.
  53. ^ Wallace 1996, p. 502.
  54. ^ Presnell, Riley (15 October 2023). "The Scream Franchise Pays Homage to One Horror Classic More Than Any Other". Collider. Retrieved 1 March 2024.
  55. ^ Thompson, Paul. "Saint Etienne Samples". British 60s cinema. Retrieved 19 July 2018.
  56. ^ Pieri, Kerry (27 January 2014). "See Kate Moss' Surreal McQueen Doll". Harper's Bazaar.
  57. ^ Bleasdale, John (29 October 2021). "Last Night in Soho explores the toxic side of nostalgia". Sight and Sound.

Bibliography

  • Barr, Charles (2002). Vertigo. BFI Film Classics. London: British Film Institute. ISBN 9780851709185.
  • Crouse, Richard (26 August 2003). The 100 Best Movies You've Never Seen. Toronto: ECW Press. ISBN 9781554905409.
  • Eckel, Mark D. (2014). When the Lights Go Down. Bloomington: WestBow Press. ISBN 9781490854175.
  • Forshaw, Barry (2012). British Crime Film: Subverting the Social Order. London: Palgrave Macmillan. ISBN 9781137184979.
  • Hamilton, John (2013). X-Cert: The British Independent Horror Film 1951–70. Parkville: Midnight Marquee Press. ISBN 9781936168408.
  • Heffernan, Kevin (2004). "Grind House or Art House? Astor Pictures and Peeping Tom". Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968. Durham: Duke University Press. ISBN 9780822332152.
  • Keough, Peter (2005). "Peeping Tom (1960)". In Bernard, Jami (ed.). The X-List: The National Society of Film Critics' Guide to the Movies That Turn Us On. Boston: Da Capo Press. ISBN 9780786738052.
  • McNeill, Isabelle (2008). "Peeping Tom (1960)". In Barrow, Sarah; White, John (eds.). Fifty Key British Films. Abingdon: Routledge. ISBN 9781134081233.
  • Meehan, Paul (2010). Horror Noir: Where Cinema's Dark Sisters Meet. Jefferson: McFarland & Co. ISBN 9780786462193.
  • Purath, Anna (2002). Peeping Tom (Michael Powell, 1959) (Thesis) (in German). Berlin: Free University of Berlin. ISBN 9783638143387.
  • Rockoff, Adam (2011). Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986. Jefferson: McFarland & Co. ISBN 9780786469321.
  • Wallace, David Foster (1996). Infinite Jest (1st ed.). Boston: Little, Brown and Company. ISBN 9780748130986.
  • Wells, Paul (2000). "Consensus and Constraint 1919–1960". The Horror Genre: From Beelzebub to Blair Witch. New York: Wallflower Press. ISBN 9781903364000.

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It's a Wonderful AfterlifePoster rilis teatrikalSutradaraGurinder ChadhaDitulis olehPaul Mayeda BergesGurinder ChadhaPemeranGoldy NotayShabana AzmiSally HawkinsSendhil RamamurthyZoë WanamakerPenata musikSony MusicSinematograferDick PopePenyuntingOral Nottie OtteyDistributorIcon Film DistributionTanggal rilis 26 Januari 2010 (2010-01-26) (Sundance Film Festival) 07 Mei 2010 (2010-05-07)[1] Durasi100 menitNegaraBritania RayaBahasaInggris It's a Wonderful Afterlife (...

American politician (1788–1860) Samuel Emerson Smith10th Governor of MaineIn officeJanuary 5, 1831 – January 1, 1834Preceded byJonathan G. HuntonSucceeded byRobert P. DunlapMember of the Maine House of RepresentativesIn office1820–1821 Personal detailsBorn(1788-03-12)March 12, 1788Hollis, New Hampshire, New Hampshire. U.S.DiedMarch 4, 1860(1860-03-04) (aged 71)Political partyDemocraticAlma materHarvard UniversityProfessionLawyer Samuel Emerson Smith (March 12, 1788 –...

 

القوات الجوية الإيطالية   شعار القوات الجوية الإيطالية الدولة  إيطاليا الإنشاء 28 مارس 1923 - حتى الآن النوع سلاح جو الحجم 43000 أفراد 525 طائرة جزء من القوات المسلحة الإيطالية  شعار نصي ببسالة إلى النجوم الاشتباكات الحرب العثمانية الإيطالية،  والحرب العالمية الأولى، &...

 

First Lady of the United States from 1865 to 1869 Eliza McCardle JohnsonOfficial portrait, as engraved 1883First Lady of the United StatesIn roleApril 15, 1865 – March 4, 1869PresidentAndrew JohnsonPreceded byMary Todd LincolnSucceeded byJulia GrantSecond Lady of the United StatesIn roleMarch 4, 1865 – April 15, 1865Vice PresidentAndrew JohnsonPreceded byEllen HamlinSucceeded byEllen ColfaxFirst Lady of TennesseeIn roleOctober 17, 1853 – November 3, 1857Gover...

Defunct American telecommunications company This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: FairPoint Communications – news · newspapers · books · scholar · JSTOR (November 2014) (Learn how and when to remove this message) FairPoint Communications, Inc.Company typeSubsidiaryTraded asNasdaq: FRPIndustryC...

 

Statue in Kensington Gardens, London The statue in 2009 A statue of Edward Jenner, the physician, scientist and pioneer of the world's first vaccine, is located in Kensington Gardens in London. A work of the sculptor William Calder Marshall, the bronze was originally unveiled by Albert, Prince Consort in Trafalgar Square on 17 May 1858, before being moved to its present location in 1862. It is a Grade II listed building.[1][2] The statue depicts Jenner in a seated position wit...

 

Albizzate komune di Italia Albizzate (it) Tempat Negara berdaulatItaliaRegion di ItaliaLombardyProvinsi di ItaliaProvinsi Varese NegaraItalia Ibu kotaAlbizzate PendudukTotal5.155  (2023 )Bahasa resmiItalia GeografiLuas wilayah3,88 km² [convert: unit tak dikenal]Ketinggian334 m Berbatasan denganCaronno Varesino Castronno Jerago con Orago Solbiate Arno Sumirago Besnate SejarahSanto pelindungAleksander dari Bergamo Informasi tambahanKode pos21041 Zona waktuUTC+1 UTC+2 Kode telepon0331...

Chronologies Données clés 1886 1887 1888  1889  1890 1891 1892Décennies :1850 1860 1870  1880  1890 1900 1910Siècles :XVIIe XVIIIe  XIXe  XXe XXIeMillénaires :-Ier Ier  IIe  IIIe Chronologies géographiques Afrique Afrique du Sud, Algérie, Angola, Bénin, Botswana, Burkina Faso, Burundi, Cameroun, Cap-Vert, République centrafricaine, Comores, République du Congo, République démocratique du Congo, Côte d'Ivoire, Djibouti, Égyp...

 

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البحث عن صلاح الدين ملصق المسلسل النوع دراما تاريخية سياسية تأليف تأليف: محمود عبد الكريم الاستشارة التاريخية : د. سهيل زكار إخراج نجدة إسماعيل أنزور بطولة رشيد عساف مروان فرحات رانيا الكردي رنا أبيض عبد الهادي الصباغ البلد  الإمارات العربية المتحدة لغة العمل العربي�...

Plan of the Crescent, engraved by Francis Jukes, 1804, from the designs of John Rawsthorne Artist's interpretation of the original design, from William Hutton's 1809 book An history of Birmingham The Crescent was a part-completed Regency-style terrace in central Birmingham, England. The scheme was first proposed in 1788, construction started in 1795 and was discontinued the same year. The partially-completed terrace was finally demolished in the mid- to late 1960s.[1][2] Like...

 

Subgroup of the Austronesian language family Northern LuzonCordilleranGeographicdistributionCordillera Central (Luzon)Linguistic classificationAustronesianMalayo-PolynesianPhilippine (?)Northern LuzonSubdivisions Ilocano Cagayan Valley Meso-Cordilleran Northeastern Luzon Dicamay Agta Arta Glottolognort3238Geographic extent of Northern Luzon languages based on Ethnologue The Northern Luzon languages (also known as the Cordilleran languages) are one of the few established large groups within Ph...

 

Questa voce sull'argomento dipinti è solo un abbozzo. Contribuisci a migliorarla secondo le convenzioni di Wikipedia. Segui i suggerimenti del progetto di riferimento. L'enfant grasAutoreAmedeo Modigliani Data1915 TecnicaOlio su tela Dimensioni46×38 cm UbicazionePinacoteca di Brera, Milano L'enfant gras è un dipinto a olio su tela (46 x38 cm) realizzato nel 1915 dal pittore italiano Amedeo Modigliani. Inizialmente fece parte della collezione del mercante Paul Guillaume, poi fu a...

County in Nebraska, United States County in NebraskaPierce CountyCountyPierce County courthouse in PierceLocation within the U.S. state of NebraskaNebraska's location within the U.S.Coordinates: 42°16′N 97°37′W / 42.27°N 97.61°W / 42.27; -97.61Country United StatesState NebraskaFounded1859Named forFranklin PierceSeatPierceLargest cityPierceArea • Total575 sq mi (1,490 km2) • Land573 sq mi (1,480 km...

 

Bands of plastic deformation in metals Lüders bands are a type of slip band or stretcher-strain mark which are formed due to localized bands of plastic deformation in metals experiencing tensile stresses, common to low-carbon steels and certain Al-Mg alloys.[1] First reported by Guillaume Piobert, and later by W. Lüders,[2] the mechanism that stimulates their appearance is known as dynamic strain aging, or the inhibition of dislocation motion by interstitial atoms (in steels...

 

President of Peru (1900–1957) In this Spanish name, the first or paternal surname is Noriega and the second or maternal family name is Agüero. Zenón NoriegaInterim President of the Government Junta of PeruIn officeJune 1, 1950 – July 28, 1950Preceded byManuel A. Odría (President of the Government Junta)Succeeded byManuel A. Odría (Constitutional President)In office29 October 1948 – 1 November 1948Preceded byManuel A. Odría (President of the Government Junt...

Artikel ini perlu dikembangkan agar dapat memenuhi kriteria sebagai entri Wikipedia.Bantulah untuk mengembangkan artikel ini. Jika tidak dikembangkan, artikel ini akan dihapus. Artikel ini tidak memiliki referensi atau sumber tepercaya sehingga isinya tidak bisa dipastikan. Tolong bantu perbaiki artikel ini dengan menambahkan referensi yang layak. Tulisan tanpa sumber dapat dipertanyakan dan dihapus sewaktu-waktu.Cari sumber: AlphaGo versus Lee Sedol – berita · surat ka...

 

Persone in coda fuori da una filiale di Northern Rock nel Regno Unito per ritirare i propri risparmi durante la crisi finanziaria. La crisi finanziaria del 2007-2008 è stata una crisi finanziaria mondiale segnata da una crisi di liquidità e talvolta da crisi di solvibilità sia a livello di banche e Stati, sia da una scarsità di credito alle imprese. Iniziata nel luglio 2007, ha le sue origini nella deflazione delle bolle dei prezzi (compresa la bolla immobiliare americana degli anni 2000)...