Some Previous Students’ Bibliographic Annotations of Secondary Sources for The Third Man

        These sources and notes are not all high-quality work.  I wanted to give you some sense of the spectrum of what students had written so that you could experience for yourself the difference between a well-chosen source (e.g., Osteen and Thomas) and poorly chosen sources (the unsigned New York Times review and Noble), and between well-written notes that tell you exactly what might be useful about the source's thinking (e.g., the discussions of Driver and Flinn) and notes that are so vague that you would have to read the article yourself to know specifically what might be useful in it (e.g., the notes on Noble and the unsigned Sight and Sound review).  Some notes (e.g., Thomas) confuse the bibliographic document format so badly that they would make it difficult for you to locate the source.  Others (Flinn) keep you from knowing how recently the source is writing.

Driver, Paul. “A Third Man Cento.” Sight and Sound 59 (1989-1990): 36-41.

                This critique summarizes all of the scenes in The Third Man and comments on the history, musicality of the structure, and cruciform structure. The advanced style of filming uses angled shots to create moods and location shots where the picture mimics the narration. There is also a story relayed about some of the real medical attendants who sold penicillin in Vienna. While watching the movie they were horrified by the consequences of their crime. As for the structure, Driver says that the “two funerals stand as prologue and epilogue” (41). The critique also comments that Harry is a “cynical allusion” (41) to the resurrected Christ.

Flinn, Caryl.  "In a lonely street; film noir, genre, masculinity."  Signs 19:  786-91.

                In "In a lonely street; film noir, genre, masculinity," Caryl Flinn discusses what characteristics are important in a film.  One characteristic he mentions is challenging Hollywood's conventional style.  The Third Man does just this in the fact that Holley does not get the girl in the end.  Another important aspect is the woman in the movie.  She is necessary to create a conflict for the characters.  Again, this happens in The Third ManAnna causes conflict for Holley in that she does not fall in love with him in the end of the film.

Kemp, Phillip. “The Third Man.” Sight & Sound April. 1994: 54-5.

            “What Welles did bring to the film¼was an obsession he shared with Greene: the preoccupation with betrayal and lost innocence.”  This source offers a good overview of the film, and retells all of  its major points. It is most valued for acknowledging Welles’ creative influence on the film, and it gives us many examples as to what they were. Such as, shot angles, and his own input into the development of his character, Harry.

Noble, Peter.  The Fabulous Orson Welles.  London:  Hutchinson, 1956.

                This biography of Orson Welles tells of his life from the beginning of his childhood.  A chapter of this book is devoted to The Third Man and the involvement Welles had in its development.  It discusses the character Welles played in the movie and the role he had in the production and filming of it.  It also mentions the methods and style in which the movie was filmed.

Osteen, Mark. "The Big Secret:  Film Noir and Nuclear Fear."     Journal of Popular Film and Television. 22 Summer 1994: 79-90.

                Osteen's article "The Big Secret:  Film Noir and Nuclear Fear" analyzes how the underlying fear of nuclear war in postwar America was central to the plots in the film noir genre.  Osteen ascertains that the plot of the majority of the postwar film noir productions involved "a big secret," as a direct result of the conspiracy in U.S. government of the 1950's.  He goes on to say that "the secrets in films noirs thus act structurally and thematically as atomic engines, or even as bombs" (81). 

                Within the "nuclear noir" category there are several different plot schemes.  These include:  Double Agents, Noirs of the Living Dead, Science and Silence, and What's in It for Me?.

Osteen uses detailed descriptions of several movies to explain the different types of plot schemes. Among these descriptions is The Lady From Shanghai, a film by Orson Welles whose plot has the structure of a "Noir of the Living Dead."

“The Third Man” The New York Times Feb 3, 29:2  (1949???)

            This is a review of the movie The Third Man. The person who wrote this critique liked it very much.  He said the movie was cleverly laced with cinematic tricks to increase the excitement and tension.  The script was very good and all of the actors played their parts well.  He also said that the music of the zither was the best part because it adds to the thriller and the “swift intriguing romance" (29). 

Thomas, Deborah.  “The Book of Film Noir.”  Psychoanalysis and Film Noir.  Ed. Ian Cameron.  Continuum, 1992.  71.

                Psychoanalysis is embedded into the language, imagery, actions and characters which appear in film noir.  The author discusses how the genre of film noir relates to psychoanalysis. The reason for the correlation was the popularity of psychoanalysis at the times the films began to emerge.  The main theme of the review is that in both psychoanalysis and film noir, looks are deceiving and there is much emphasis on the conscious and unconscious.  The male protagonist especially embodies the essence of psychoanalysis in that both his history and his instincts are stressed in the film.  The male protagonist also refers to Freudian terms and references, by discussing his dreams and his relations with his mother.  He is considered neurotic in that he obsesses about finishing unfinished business.  Flashbacks in the films also illustrate the neurotic need to repeat and the psychoanalytical emphasis on the past.                 

Unsigned Review  Sight and Sound.  59  (Feb. 1992) 37-41.

                The article reviewing the movie entitled The Third Man discusses the many numerous aspects of the film.  The article covers areas such as cinematography, the plot, the actors, and the script.  The writer also picks out very important scenes that the audience may not see as clearly as the film makers intended them to be, and gives a full description of those more important ones.  This article mainly attempts to convey the ingenious film work and acting that make this movie as successful and memorable as it is.