S
Saberhagen, Fred, 292 n11
Saboteur (1942), 53
Sabu, 226
Sadie Thompson (1928), 29
St. James, Gaylord, 164
St. Louis Blues (1958), 95 , 109 , 111
Salk, Jonas, 21 –22
Samo Hung, 193 –94, 197
Samuels, Stuart, 31 n4
Sander, Helke, 233 n22
Sandrich, Mark, 30
Sauve qui peut (la vie) (1979, Every Man for Himself ), 157
Sayre, Nora, 16 , 17
Scarface (1932), 29
Scarface (1983), 29 , 135
Scarlet Street (1945), 29
Schickel, Richard, 17
Schmidt-Reitwein, Jorg, 245
School desegregation, 23 –25
Schreck, Max, 240 , 243 –44, 254 fig., 263
Scorsese, Martin, 2 , 5 , 6 , 35 ;
commercial film attempts of, 40 ;
filmmaking techniques of, 37 , 51 n3, 332 ;
Hitchcockian reformulations of, 38 –39, 333 ;
modernist intertextuality of, 39 , 40 ;
violent imagery of, 43 .
See also Cape Fear (1991)
Scott, Sir Walter, 78 n2
Screen Directors Guild, 296 , 307 –8
Screen Directors Playhouse (formerly NBC Theatre ), 307 ;
radio adaptations on, 295 –97, 300
Scrooge (1935), 136
SCTV (Second City TV), 112 n5
The Searchers (1956), 35
Seberg, Jean, 151 , 151 fig.
Selznick, David O., 58 , 92 nn5,6
Semiotic field (concept), 25
Sequel films, 91 –92n1, 137 . See also Film remakes
Series films, 91 –92n1. See also Film remakes
Seven Beauties (1976), 133
Seven Samurai (1954), 4 , 137 , 170
Sexuality:
African Americans and, 107 –8, 111 , 112 nn3, 8 ;
as Dracula subtext, 245 , 249 n4;
exploitation of, in Basic Instinct , 37 –38;
as female-centered, 186 ;
genital-to-oral regression of, 269 –70, 274 n10;
plague/disease theme and, 263 , 264 , 273 n7;
and sexual repression motif, 266 –68;
violence and, 41 , 42 –43, 48 , 251 –52
Shadow of a Doubt (1943), 43
Shakespeare, William, 2 , 133 , 163
Sheehan, Henry, 234 n29
Shengold, Leonard, 271
Shepherd, Richard, 18
The Shining (1980), 273 n4
Shklovsky, Victor, 6 , 173
Showalter, Elaine, 214
Show Boat (1951), 80
Show musical, 92 n4;
reconciliatory conclusion of, 98 –100.
See also Musical remakes
Shuster, Joe, 288 –89
Siebert, Martina, 226
Siegel, Don, 30 , 232 n10. See also Invasion of the Body Snatchers (1956)
Siegel, Jerry, 288 –89
Silk Stockings (1957), 80 , 92 n2
Silverman, Kaja, 208
Simmons, Jean, 226 , 234 nn27, 28
The Simpsons (TV series), 112 n5
Sinclair, Upton, 71
Singin' in the Rain (1952), 92 n3
Sirk, Douglas, 8 , 41 , 48 , 200
Sleeping with the Enemy (1991), 49
Sloane, Paul H., 30
Sluizer, George, 67 n1
Smith, Barbara Herrnstein, 96 , 97 , 104 , 328
Smith, Patti, 229
Some Like It Hot (1959), 192 , 202
"Someone at Last" (song), 88
Somigli, Luca, 9 , 330 , 331
Soul Man (1986), 112 n7
Spectatorship:
and dreaming, 257 –58;
in Invisible Adversaries , 223 , 233 n23;
in The Man Who Knew Too Much , 54 –57;
and perception/representation, 258 ;
presence/absence paradigm and, 245 , 258 ;
in The Thirty-Nine Steps , 58 .
See also Audience reception
Spielberg, Stephen, 8 , 18 ;
blind spots of, 118 –19;
filmmaking devices of, 36 –37, 137 ;
Guy Named Joe fascination of, 115 –16, 120 , 122 ;
parental relationships with, 120 –21, 122 –23;
paternal images of, 123 –24, 128 n13;
psychological themes of, 128 n14;
remaking influence of, 125 , 129 n18.
See also Always
The Spirit of the Beehive (1973), 245
Stagecoach (1939), 301 –3, 304 fig., 305 –7, 308 nn2,3
Stagecoach (radio adaptation):
aesthetic final scene of, 306 ;
film stars of, 295 –96;
mother/whore dichotomy of, 302 ;
paradoxical production of, 296 –97, 308 ;
racial ideology of, 300 –301;
scenesetting dialogue of, 303 –4
Stage Fright (1950), 40 , 44 , 45
Stahl, John, 201
Star, Darren, 1
Stardom:
Al Jolson's approach to, 106 –7;
music as exploration of, 83 , 84 –85, 86 , 88 , 90 ;
in poststudio era, 83
A Star Is Born (1937), 7 , 29 , 81 , 82 fig.;
latent stardom of, 86 , 93 n10;
melodramatic elements of, 84 , 89 –90;
re-releases of, 93 n13;
screenplay credits for, 92 n6;
What Price Hollywood? and, 92 n5
A Star Is Born (1954), 7 , 29 , 85 fig.;
as CinemaScope film, 81 , 92 –93n8;
melodramatic elements of, 88 , 89 –90;
music/stardom commitment of, 84 –85, 93 n9;
poststudio era of, 82 –83;
restored version of, 92 n7;
What Price Hollywood? and, 92 n5
A Star Is Born (1976), 7 , 29 , 81 , 87 fig.;
audiences of, and within, 88 , 91 , 93 n11;
concert world of, 83 ;
love duets of, 89 ;
music/stardom commitment of, 84 –85, 86 , 88 , 90 ;
remake category of, 126 n1;
screenplay credits for, 92 n6
Star Wars (1977), 193
State Fair (1962), 80
Steffen-Fluhr, Nancy, 233 n15
Stella Dallas (1937), 332
Steptoe, Patrick, 27
Stevenson, Adlai, 22
Stevenson, McLean, 320 , 322
Stewart, James, 38 , 59 , 61 , 67
Stiers, David Ogden, 321 , 323
The Sting (1973), 9 , 137
Stoker, Bram, 241 , 249 n2. See also Dracula (Stoker)
Stone, Oliver, 26
Straayer, Chris, 205
Strangers on a Train (1951), 30 ;
Cape Fear 1991 and, 40 , 44 , 47 –48;
doubling structure of, 46 –47, 51 n4;
loss of control in, 45
Straw Dogs (1971), 169
Streisand, Barbra, 83 , 84 , 85 , 86 , 87 fig., 88 , 91 , 93 n11
Sturken, Marita, 219
Subtitles, 148 –49, 150 , 155 , 160 nn1,4
Suburban myth, 167 –69
"Suicide Is Painless" (song), 313
Summers, Montague, 273 –74n9
Superman (1978), 279
Superman myth, 284 , 287 –90, 292 n13
Sutherland, Donald, 25 , 312
Sweet Bird of Youth (1962, 1989), 29
Sweet Dreams (1985), 98
Swit, Loretta, 321
Sykora, Katharina, 234 n31