Contents 1 Early life 2 1960s and early career 3 Transition to Hollywood 4 Trademarks and style 4.1 Themes 4.2 Camera shots 5 Collaborations 5.1 Actors 5.2 Cinematographers 6 Personal life 7 Legacy 8 Criticism 9 Filmography 9.1 Feature films 9.2 Short films 9.3 Documentary films 10 References 11 Bibliography 12 Further reading 13 External links

Early life[edit] De Palma, who is of Italian ancestry, is the youngest of three boys and was born in Newark, New Jersey to Vivienne (née Muti) and Anthony Federico De Palma, an orthopedic surgeon.[1] He was raised in Philadelphia, Pennsylvania and New Hampshire, and attended various Protestant and Quaker schools, eventually graduating from Friends' Central School. When he was in high school, he built computers.[2] He won a regional science-fair prize for a project titled "An Analog Computer to Solve Differential Equations".

1960s and early career[edit] This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2017) (Learn how and when to remove this template message) Enrolled at Columbia as a physics student, De Palma became enraptured with the filmmaking process after viewing Citizen Kane and Vertigo. De Palma subsequently enrolled at the newly coed Sarah Lawrence College as a graduate student in their theater department in the early 1960s, becoming one of the first male students among a female population. Once there, influences as various as drama teacher Wilford Leach, the Maysles brothers, Michelangelo Antonioni, Jean-Luc Godard, Andy Warhol, and Alfred Hitchcock impressed upon De Palma the many styles and themes that would shape his own cinema in the coming decades. An early association with a young Robert De Niro resulted in The Wedding Party. The film, which was co-directed with Leach and producer Cynthia Munroe, had been shot in 1963 but remained unreleased until 1969, when De Palma's star had risen sufficiently within the Greenwich Village filmmaking scene. De Niro was unknown at the time; the credits mistakenly display his name as "Robert Denero." The film is noteworthy for its invocation of silent film techniques and an insistence on the jump-cut for effect. De Palma followed this style with various small films for the NAACP and The Treasury Department. During the 1960s, De Palma began making a living producing documentary films, notably The Responsive Eye, a 1966 movie about The Responsive Eye op-art exhibit curated by William Seitz for MOMA in 1965. In an interview with Gelmis from 1969, De Palma described the film as "very good and very successful. It's distributed by Pathe Contemporary and makes lots of money. I shot it in four hours, with synched sound. I had two other guys shooting people's reactions to the paintings, and the paintings themselves."[3] Dionysus in 69 (1969) was De Palma's other major documentary from this period. The film records The Performance Group's performance of Euripides' The Bacchae, starring, amongst others, De Palma regular William Finley. The play is noted for breaking traditional barriers between performers and audience. The film's most striking quality is its extensive use of the split-screen. De Palma recalls that he was "floored" by this performance upon first sight, and in 1973 recounts how he "began to try and figure out a way to capture it on film. I came up with the idea of split-screen, to be able to show the actual audience involvement, to trace the life of the audience and that of the play as they merge in and out of each other."[4] De Palma's most significant features from this decade are Greetings (1968) and Hi, Mom! (1970). Both films star Robert De Niro and espouse a Leftist revolutionary viewpoint common to their era. Greetings was entered into the 19th Berlin International Film Festival, where it won a Silver Bear award.[5] His other major film from this period is the slasher comedy Murder a la Mod. Each of these films contains experiments in narrative and intertextuality, reflecting De Palma's stated intention to become the "American Godard" while integrating several of the themes which permeated Hitchcock's work.[6] Greetings is about three New Yorkers dealing with the draft. The film is often considered the first to deal explicitly with the draft. The film is noteworthy for its use of various experimental techniques to convey its narrative in ultimately unconventional ways. Footage was sped up, rapid cutting was used to distance the audience from the narrative, and it was difficult to discern with whom the audience must ultimately align. "Greetings" ultimately grossed over $1 million at the box office and cemented De Palma's position as a bankable filmmaker. After the success of his 1968 breakthrough, De Palma and his producing partner, Charles Hirsch, were given the opportunity by Sigma 3 to make an unofficial sequel of sorts, initially entitled Son of Greetings, and subsequently released as Hi, Mom!. While "Greetings" accentuated its varied cast, Hi, Mom! focuses on De Niro's character, Jon Rubin, an essential carry-over from the previous film. The film is ultimately significant insofar as it displays the first enunciation of De Palma's style in all its major traits – voyeurism, guilt, and a hyper-consciousness of the medium are all on full display, not just as hallmarks, but built into this formal, material apparatus itself. These traits come to the fore in Hi, Mom!'s "Be Black, Baby" sequence. This sequence parodies cinéma vérité, the dominant documentary tradition of the 1960s, while simultaneously providing the audience with a visceral and disturbingly emotional experience. De Palma describes the sequence as a constant invocation of Brechtian distanciation: "First of all, I am interested in the medium of film itself, and I am constantly standing outside and making people aware that they are always watching a film. At the same time I am evolving it. In Hi, Mom! for instance, there is a sequence where you are obviously watching a ridiculous documentary and you are told that and you are aware of it, but it still sucks you in. There is a kind of Brechtian alienation idea here: you are aware of what you are watching at the same time that you are emotionally involved with it." "Be Black, Baby" was filmed in black and white stock on 16 mm, in low-light conditions that stress the crudity of the direct cinema aesthetic. It is precisely from this crudity that the film itself gains a credibility of "realism." In an interview with Michael Bliss, De Palma notes "[Be Black, Baby] was rehearsed for almost three weeks... In fact, it's all scripted. But once the thing starts, they just go with the way it's going. I specifically got a very good documentary camera filmmaker (Robert Elfstrom) to just shoot it like a documentary to follow the action." Furthermore, "I wanted to show in Hi, Mom! how you can really involve an audience. You take an absurd premise – "Be Black, Baby" – and totally involve them and really frighten them at the same time. It's very Brechtian. You suck 'em in and annihilate 'em. Then you say, "It's just a movie, right? It's not real." It's just like television. You're sucked in all the time, and you're being lied to in a very documentary-like setting. The "Be Black, Baby" section of Hi, Mom! is probably the most important piece of film I've ever done."

Transition to Hollywood[edit] In the 1970s, De Palma went to Hollywood where he worked on bigger budget films. In 1970, De Palma left New York for Hollywood at age thirty to make Get to Know Your Rabbit, starring Orson Welles and Tommy Smothers. Making the film was a crushing experience for De Palma, as Tommy Smothers did not like many of De Palma's ideas.[7] After several small, studio and independent released films that included stand-outs Sisters, Phantom of the Paradise, and Obsession, a small film based on a novel called Carrie was released directed by Brian De Palma. The psychic thriller Carrie is seen by some as De Palma's bid for a blockbuster. In fact, the project was small, underfunded by United Artists, and well under the cultural radar during the early months of production, as Stephen King's source novel had yet to climb the bestseller list. De Palma gravitated toward the project and changed crucial plot elements based upon his own predilections, not the saleability of the novel. The cast was young and relatively new, though Sissy Spacek and John Travolta had gained attention for previous work in, respectively, film and episodic sitcoms. Carrie became a hit, the first genuine box-office success for De Palma. It garnered Spacek and Piper Laurie Oscar nominations for their performances. Preproduction for the film had coincided with the casting process for George Lucas's Star Wars, and many of the actors cast in De Palma's film had been earmarked as contenders for Lucas's movie, and vice versa.[8] The "shock ending" finale is effective even while it upholds horror-film convention, its suspense sequences are buttressed by teen comedy tropes, and its use of split-screen, split-diopter and slow motion shots tell the story visually rather than through dialogue. The financial and critical success of Carrie allowed De Palma to pursue more personal material. The Demolished Man was a novel that had fascinated De Palma since the late 1950s and appealed to his background in mathematics and avant-garde storytelling. Its unconventional unfolding of plot (exemplified in its mathematical layout of dialogue) and its stress on perception have analogs in De Palma's filmmaking. He sought to adapt it on numerous occasions, though the project would carry a substantial price tag, and has yet to appear onscreen (Steven Spielberg's adaptation of Philip K. Dick's Minority Report bears striking similarities to De Palma's visual style and some of the themes of The Demolished Man). The result of his experience with adapting The Demolished Man was The Fury, a science fiction psychic thriller that starred Kirk Douglas, Carrie Snodgress, John Cassavetes and Amy Irving. The film was admired by Jean-Luc Godard, who featured a clip in his mammoth Histoire(s) du cinéma, and Pauline Kael who championed both The Fury and De Palma. The film boasted a larger budget than Carrie, though the consensus view at the time was that De Palma was repeating himself, with diminishing returns. As a film it retains De Palma's considerable visual flair, but points more toward his work in mainstream entertainments such as The Untouchables and Mission: Impossible, the thematic complex thrillers for which he is now better known. For many film-goers, De Palma's gangster films, most notably Scarface and Carlito's Way, pushed the envelope of on-screen violence and depravity, and yet greatly vary from one another in both style and content and also illustrate De Palma's evolution as a film-maker. In essence, the excesses of Scarface contrast with the more emotional tragedy of Carlito's Way. Both films feature Al Pacino in what has become a fruitful working relationship. In 1984, he directed the music video of Bruce Springsteen's song Dancing in the Dark. The 1980s were denoted by De Palma's other films Dressed To Kill, Blow Out, and Body Double. Later into the 1990s and 2000s, De Palma did other films. He attempted to do dramas and a few thrillers plus science fiction. Some of these movies (Mission: Impossible, Carlito's Way) worked and some others (Raising Cain, Mission to Mars) failed at the box office. However, The Bonfire of the Vanities would be De Palma's biggest box office disaster, losing millions. A more political controversy erupted in a later movie from De Palma, Redacted (2007), which had the subject of American involvement in Iraq, including the committing of war atrocities there. It received limited release in the United States and grossed less than $1 million. In 2012, his film Passion was selected to compete for the Golden Lion at the 69th Venice International Film Festival.[9] In 2015, he was the subject of a documentary film, De Palma.[10]

Trademarks and style[edit] Themes[edit] De Palma's films can fall into two categories, his psychological thrillers (Sisters, Body Double, Obsession, Dressed to Kill, Blow Out, Raising Cain) and his mainly commercial films (Scarface, The Untouchables, Carlito's Way, and Mission: Impossible). He has often produced "De Palma" films one after the other before going on to direct a different genre, but would always return to his familiar territory. Because of the subject matter and graphic violence of some of De Palma's films, such as Dressed to Kill, Scarface and Body Double, they are often at the center of controversy with the Motion Picture Association of America, film critics and the viewing public.[11] De Palma is known for quoting and referencing other directors' work throughout his career. Michelangelo Antonioni's Blowup and Francis Ford Coppola's The Conversation plots were used for the basis of Blow Out. The Untouchables' finale shoot out in the train station is a clear borrow from the Odessa Steps sequence in Sergei Eisenstein's The Battleship Potemkin. The main plot from Rear Window was used for Body Double, while it also used elements of Vertigo. Vertigo was also the basis for Obsession. Dressed to Kill was a note-for-note homage to Hitchcock's Psycho, including such moments as the surprise death of the lead actress and the exposition scene by the psychiatrist at the end.[11] Camera shots[edit] Film critics have often noted De Palma's penchant for unusual camera angles and compositions throughout his career. He often frames characters against the background using a canted angle shot. Split-screen techniques have been used to show two separate events happening simultaneously.[11] To emphasize the dramatic impact of a certain scene De Palma has employed a 360-degree camera pan. Slow sweeping, panning and tracking shots are often used throughout his films, often through precisely-choreographed long takes lasting for minutes without cutting. Split focus shots, often referred to as "di-opt", are used by De Palma to emphasize the foreground person/object while simultaneously keeping a background person/object in focus. Slow-motion is frequently used in his films to increase suspense.[11]

Collaborations[edit] Actors[edit] Actor Murder a la Mod (1968) Greetings (1968) The Wedding Party (1969) Dionysus in '69 (1970) Hi, Mom! (1970) Get to Know Your Rabbit (1972) Sisters (1973) Phantom of the Paradise (1974) Obsession (1976) Carrie (1976) The Fury (1978) Home Movies (1980) Dressed to Kill (1980) Blow Out (1981) Scarface (1983) Body Double (1984) The Untouchables (1987) Casualties of War (1989) The Bonfire of the Vanities (1990) Raising Cain (1992) Carlito's Way (1993) Mission: Impossible (1996) Snake Eyes (1998) Mission to Mars (2000) Femme Fatale (2002) The Black Dahlia (2006) F. Murray Abraham Y Y Nancy Allen Y Y Y Y Vito D'Ambrosio Y Y Steven Bauer Y Y Y Richard Belzer Y Y Robert De Niro Y Y Y Y Kirk Douglas Y Y Kevin Dunn Y Y Y Charles Durning Y Y Y Dale Dye Y Y William Finley Y Y Y Y Y Y Y Y Dennis Franz Y Y Y Y Y Allen Garfield Y Y Keith Gordon Y Y Gerrit Graham Y Y Y Y Melanie Griffith Y Y Luis Guzmán Y Y Donald Patrick Harvey Y Y Gregg Henry Y Y Y Y Y Clifton James Y Y Amy Irving Y Y Y Al Israel Y Y Y John Leguizamo Y Y John Lithgow Y Y Y Michael P. Moran Y Y Mark Margolis Y Y Jared Martin Y Y Al Pacino Y Y Sean Penn Y Y Ving Rhames Y Y Angel Salazar Y Y Jennifer Salt Y Y Y Y Pepe Serna Y Y Gary Sinise Y Y Mike Starr Y Y John Travolta Y Y Cinematographers[edit] Vilmos Zsigmond Obsession (1976) Blow Out (1981) Bonfire of the Vanities (1990) The Black Dahlia (2006) Stephen H. Burum Body Double (1984) The Untouchables (1987) Casualties of War (1989) Raising Cain (1992) Carlito's Way (1993) Mission Impossible (1996) Snake Eyes (1998) Mission to Mars (2000) José Luis Alcaine Passion (2012) Domino (2018)

Personal life[edit] De Palma has been married and divorced three times, to actress Nancy Allen (1979–1983), producer Gale Anne Hurd (1991–1993), and Darnell Gregorio (1995–1997). He has one daughter from his marriage to Hurd, Lolita de Palma, born in 1991, and one daughter from his marriage to Gregorio, Piper De Palma, born in 1996.[citation needed] He resides in Manhattan, New York.[12]

Legacy[edit] De Palma at the 2009 Toronto International Film Festival De Palma is often cited as a leading member of the New Hollywood generation of film directors, a distinct pedigree who either emerged from film schools or are overtly cine-literate.[11] His contemporaries include Martin Scorsese, Paul Schrader, John Milius, George Lucas, Francis Ford Coppola, Steven Spielberg, John Carpenter, and Ridley Scott. His artistry in directing and use of cinematography and suspense in several of his films has often been compared to the work of Alfred Hitchcock.[11][13][14] Psychologists have been intrigued by De Palma's fascination with pathology, by the aberrant behavior aroused in characters who find themselves manipulated by others.[15] De Palma has encouraged and fostered the filmmaking careers of directors such as Mark Romanek and Keith Gordon. During an interview with De Palma, Tarantino said that Blow Out is one of his all-time favorite films, and that after watching Scarface he knew how to make his own film. Terrence Malick credits seeing De Palma's early films on college campus tours as a validation of independent film, and subsequently switched his attention from philosophy to filmmaking.[citation needed] Other filmmakers influenced by De Palma include Quentin Tarantino,[16] Ronny Yu,[17] Don Mancini,[18] Nacho Vigalondo,[19] and Jack Thomas Smith.[20] Critics who frequently admire De Palma's work include Pauline Kael and Roger Ebert, among others. Kael wrote in her review of Blow Out, "At forty, Brian De Palma has more than twenty years of moviemaking behind him, and he has been growing better and better. Each time a new film of his opens, everything he has done before seems to have been preparation for it."[21] In his review of Femme Fatale, Roger Ebert wrote about the director: "De Palma deserves more honor as a director. Consider also these titles: Sisters, Blow Out, The Fury, Dressed to Kill, Carrie, Scarface, Wise Guys, Casualties of War, Carlito's Way, Mission: Impossible. Yes, there are a few failures along the way (Snake Eyes, Mission to Mars, The Bonfire of the Vanities), but look at the range here, and reflect that these movies contain treasure for those who admire the craft as well as the story, who sense the glee with which De Palma manipulates images and characters for the simple joy of being good at it. It's not just that he sometimes works in the style of Hitchcock, but that he has the nerve to."[14]

Criticism[edit] Julie Salamon has written that De Palma has been accused of being "a perverse misogynist" by critics.[15] De Palma has responded to accusations of misogyny by saying: "I'm always attacked for having an erotic, sexist approach---chopping up women, putting women in peril. I'm making suspense movies! What else is going to happen to them?"[22] David Thomson wrote in his entry for De Palma, "There is a self-conscious cunning in De Palma's work, ready to control everything except his own cruelty and indifference."[23]

Filmography[edit] Feature films[edit] Murder a la Mod (1968) Greetings (1968) The Wedding Party (1969) Hi, Mom! (1970) Dionysus in '69 (1970) Get to Know Your Rabbit (1972) Sisters (1973) Phantom of the Paradise (1974) Obsession (1976) Carrie (1976) The Fury (1978) Home Movies (1980) Dressed to Kill (1980) Blow Out (1981) Scarface (1983) Body Double (1984) Wise Guys (1986) The Untouchables (1987) Casualties of War (1989) The Bonfire of the Vanities (1990) Raising Cain (1992) Carlito's Way (1993) Mission: Impossible (1996) Snake Eyes (1998) Mission to Mars (2000) Femme Fatale (2002) The Black Dahlia (2006) Redacted (2007) Passion (2012) Domino (2018) Venice Beach (TBA) Short films[edit] Icarus (1960) 660124: The Story of an IBM Card (1961) Woton's Wake (1962) Jennifer (1964) Bridge That Gap (1965) Show Me a Strong Town and I'll Show You a Strong Bank (1966) Dancing in the Dark (1984) Documentary films[edit] The Responsive Eye (1966) De Palma (2015)

References[edit] ^ "Brian De Palma Biography (1940–)". Film Reference. Retrieved 2012-01-14. ^ Kenigsberg, Ben (August 30, 2013). "Brian De Palma talks about his stylish new remake, Passion". A.V. Club. Retrieved October 26, 2014.  ^ Gelmis, Joseph (1970). The Film Director as Superstar. Garden City: Doubleday & Company, Inc. p. 24.  ^ Knapp, Lawrence (2003). Brian De Palma Interviews. Jackson: University Press of Mississippi. p. 26.  ^ "Berlinale 1969: Prize Winners". Retrieved March 6, 2010.  ^ Brody, Richard. Everything Is Cinema: The Working Life of Jean-Luc Godard. p. 323. ^ Salamon, p. 26. ^ "Almost Cast: Who Lost Iconic Roles?". Life. Retrieved December 4, 2011.  ^ "Venezia 69". labiennale. Archived from the original on July 28, 2012. Retrieved July 28, 2012.  ^ David Rooney (September 8, 2015). "'De Palma': Venice Review". The Hollywood Reporter. Retrieved 28 April 2016.  ^ a b c d e f Murray, Noel; Tobias, Scott (March 10, 2011). "Brian De Palma | Film | Primer". The A.V. Club. Retrieved 2012-02-03. ^ Thompson, Anne (August 30, 2013). "Brian De Palma Q & A: 'Passion,' McAdams vs. Rapace, Sex Tools UPDATED (New Trailer)". Indie Wire. p. 2. Retrieved October 26, 2014.  ^ Rainier, Peter. "The Director's Craft: The death-deifying De Palma". Los Angeles Times Calendar. Archived from the original on March 25, 2008. Retrieved December 26, 2007.  ^ a b Ebert, Roger (November 6, 2002). "Femme Fatale (2002)". Chicago Sun-Times. Retrieved 2012-01-14. ^ a b Salamon, p. 27. ^ Fitzmaurice, Larry (August 28, 2015). "Quentin Tarantino: The Complete Syllabus of His Influences and References". Vulture. ^ Hammond, Stefan, Wilkins, Mike (August 19, 1996). "Influenced+by+Brian+DePalma"&source=bl&ots=yTdRXhJpAN&sig=zag3XT9xKS1DGdgBSUyMf9b0M8g&hl=en&sa=X&ved=0ahUKEwjz6Lnl_L3LAhUBfCYKHZefCA4Q6AEIHjAA#v=onepage&q="InfluencedbyBrianDePalma"&f=false Sex and Zen & A Bullet in the Head: The Essential Guide to Hong Kong's Mind-bending Films. Touchstone. pp. 201-202. Archived at Google Books. Retrieved March 13, 2016. ^ Topel, Fred (November 11, 2004). "Behind-the-Scenes of 'Seed of Chucky'". MovieWeb. ^ Hatfull, Jonathan (August 25, 2014). "FrightFest 2014 Day 4 review: killers, singers and demons". SciFiNow. ^ Wien, Gary (October 19, 2014). "Infliction: An Interview With Jack Thomas Smith". New Jersey Stage. ^ Kael, Pauline (July 27, 1981). "Blow Out: Portrait of the Artist as a Young Gadgeteer". New Yorker. Retrieved 2012-02-03. ^ Caputi, Jane (June 15, 1987). The Age of Sex Crime. Popular Press. p. 92. ^ Thomson, p. 257.

Bibliography[edit] Thomson, David (October 26, 2010). The New Biographical Dictionary of Film: Fifth Edition, Completely Updated and Expanded (Hardcover ed.). Knopf. ISBN 978-0-307-27174-7. Salamon, Julie (1991). Devil's Candy: The Bonfire of the Vanities Goes to Hollywood (Hardcover ed.). Houghton. ISBN 0-395-56996-6.

Further reading[edit] Bliss, Michael (1986). Brian De Palma. Scarecrow. Blumenfeld, Samuel; Vachaud, Laurent (2001). Brian De Palma. Calmann-Levy. Dworkin, Susan (1984). Double De Palma: A Film Study with Brian De Palma. Newmarket.

External links[edit] Wikimedia Commons has media related to Brian De Palma. Brian De Palma on IMDb Senses of Cinema: Great Directors Critical Database Photos and discussion around the director Literature on Brian De Palma Brian De Palma bibliography (via UC Berkeley) Hi, Brian ! Brian De Palma's Community Brian De Palma's UBUWeb entry, featuring early short films Brian De Palma (director) (1966). The Responsive Eye (Motion picture).  De Palma documentary film available online. v t e Films directed by Brian De Palma Murder a la Mod (1968) Greetings (1968) The Wedding Party (1969) Dionysus in '69 (1970) Hi, Mom! (1970) Get to Know Your Rabbit (1972) Sisters (1973) Phantom of the Paradise (1974) Obsession (1976) Carrie (1976) The Fury (1978) Home Movies (1980) Dressed to Kill (1980) Blow Out (1981) Scarface (1983) Body Double (1984) Wise Guys (1986) The Untouchables (1987) Casualties of War (1989) The Bonfire of the Vanities (1990) Raising Cain (1992) Carlito's Way (1993) Mission: Impossible (1996) Snake Eyes (1998) Mission to Mars (2000) Femme Fatale (2002) The Black Dahlia (2006) Redacted (2007) Passion (2012) v t e Silver Lion for Best Director 1990-2000 Martin Scorsese (1990) Emir Kusturica (1998) Zhang Yuan (1999) Buddhadeb Dasgupta (2000) 2001-2010 Babak Payami (2001) Lee Chang-dong (2002) Takeshi Kitano (2003) Kim Ki-duk (2004) Philippe Garrel (2005) Alain Resnais (2006) Brian De Palma (2007) Aleksei German Jr. (2008) Shirin Neshat (2009) Álex de la Iglesia (2010) 2011-2020 Cai Shangjun (2011) Paul Thomas Anderson (2012) Alexandros Avranas (2013) Andrei Konchalovsky (2014) Pablo Trapero (2015) Amat Escalante / Andrei Konchalovsky (2016) Xavier Legrand (2017) Authority control WorldCat Identities VIAF: 84974866 LCCN: n83026611 ISNI: 0000 0001 2141 8922 GND: 118666320 SELIBR: 289577 SUDOC: 026815044 BNF: cb11898907c (data) NDL: 00437474 NKC: ola2002159234 ICCU: IT\ICCU\RAVV\093017 BNE: XX1386762 SNAC: w6f778jd Retrieved from "" Categories: 1940 birthsAmerican film directorsAmerican film producersAmerican male screenwritersAmerican film directors of Italian descentAmerican people of Italian descentPeople of Apulian descentColumbia University alumniLiving peopleWriters from Newark, New JerseySarah Lawrence College alumniSilver Bear for Best Director recipientsVenice Best Director Silver Lion winnersAction film directorsHorror film directorsGiallo film directorsEnglish-language film directorsHidden categories: Use mdy dates from October 2013Articles with hCardsArticles needing additional references from January 2017All articles needing additional referencesAll articles with unsourced statementsArticles with unsourced statements from October 2016Articles with unsourced statements from March 2016Pages using div col without cols and colwidth parametersWikipedia articles with VIAF identifiersWikipedia articles with LCCN identifiersWikipedia articles with ISNI identifiersWikipedia articles with GND identifiersWikipedia articles with SELIBR identifiersWikipedia articles with BNF identifiersWikipedia articles with SBN identifiersWikipedia articles with SNAC-ID identifiers

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Deauville American Film FestivalNewark, New JerseyManhattanNancy Allen (actress)Gale Anne HurdNew HollywoodSuspensePsychological ThrillerCrime FilmCarrie (1976 Film)Dressed To Kill (1980 Film)Blow OutScarface (1983 Film)The Untouchables (film)Carlito's WayMission: Impossible (film)Newark, New JerseyAnthony DePalmaOrthopedicPhiladelphiaNew HampshireProtestantReligious Society Of FriendsFriends' Central SchoolAnalog ComputerWikipedia:Citing SourcesWikipedia:VerifiabilityHelp:Introduction To Referencing With Wiki Markup/1Wikipedia:VerifiabilityHelp:Maintenance Template RemovalColumbia UniversityCitizen KaneVertigo (film)Sarah Lawrence CollegeWilford LeachAlbert And David MayslesMichelangelo AntonioniJean-Luc GodardAndy WarholAlfred HitchcockRobert De NiroThe Wedding Party (film)Greenwich VillageJump-cutNAACPU.S. Treasury DepartmentThe Responsive EyeOp-artMOMADionysus (film)The Performance GroupThe BacchaeSplit Screen (video Production)Greetings (1968 Film)Hi, Mom!LeftistRevolutionary19th Berlin International Film FestivalSilver BearMurder A La ModIntertextualityJean-Luc GodardBe Black, BabyCinéma VéritéBrechtGet To Know Your RabbitSisters (1973 Film)Phantom Of The ParadiseObsession (1976 Film)PsychicCarrie (1976 Film)United ArtistsStephen KingSissy SpacekJohn TravoltaSituation ComedyPiper LaurieGeorge LucasStar Wars (film)Split Screen (film)Slow MotionCarrie (1976 Film)The Demolished ManAvant-gardePhilip K. 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BurumJosé Luis AlcaineNancy Allen (actress)Gale Anne HurdWikipedia:Citation NeededManhattanNew York (state)Enlarge2009 Toronto International Film FestivalNew HollywoodMartin ScorsesePaul SchraderJohn MiliusGeorge LucasFrancis Ford CoppolaSteven SpielbergJohn CarpenterRidley ScottAlfred HitchcockMark RomanekKeith GordonBlow OutScarface (1983 Film)Terrence MalickIndependent FilmWikipedia:Citation NeededQuentin TarantinoRonny YuDon ManciniNacho VigalondoJack Thomas SmithPauline KaelRoger EbertBlow OutFemme Fatale (2002 Film)Roger EbertJulie SalamonMurder A La ModGreetings (1968 Film)The Wedding Party (film)Hi, Mom!Dionysus In '69Get To Know Your RabbitSisters (1973 Film)Phantom Of The ParadiseObsession (1976 Film)Carrie (1976 Film)The Fury (1978 Film)Home Movies (film)Dressed To Kill (1980 Film)Blow OutScarface (1983 Film)Body DoubleWise Guys (1986 Film)The Untouchables (film)Casualties Of WarThe Bonfire Of The Vanities (film)Raising CainCarlito's WayMission: Impossible (film)Snake Eyes (film)Mission To MarsFemme Fatale (2002 Film)The Black Dahlia (film)Redacted (film)Passion (2012 Film)Dancing In The Dark (Bruce Springsteen Song)De Palma (film)The Hollywood ReporterThe A.V. 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