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	<title>Parallax View &#187; Sam Fuller</title>
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	<link>http://parallax-view.org</link>
	<description>Smart Words About Cinema</description>
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		<title>DVD: &#8216;The Samuel Fuller Film Collection&#8217;</title>
		<link>http://parallax-view.org/2012/05/09/dvd-the-samuel-fuller-film-collection/</link>
		<comments>http://parallax-view.org/2012/05/09/dvd-the-samuel-fuller-film-collection/#comments</comments>
		<pubDate>Thu, 10 May 2012 00:37:38 +0000</pubDate>
		<dc:creator>Richard T. Jameson</dc:creator>
				<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Adventure in Sahara]]></category>
		<category><![CDATA[It Happened in Hollywood]]></category>
		<category><![CDATA[Power of the Press]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Scandal Sheet]]></category>
		<category><![CDATA[Shockproof]]></category>
		<category><![CDATA[The Crimson Kimono]]></category>
		<category><![CDATA[Underworld U.S.A.]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=11035</guid>
		<description><![CDATA[A year after its landmark release of Budd Boetticher&#8217;s &#8220;Ranown&#8221; Westerns, Sony showcases another great maverick filmmaker. Samuel Fuller spent most of his career in B pictures, creating ultrapersonal, formula-defying films that got little notice from workaday reviewers but impressed sharp critics like Andrew Sarris and Manny Farber. His streetwise worldview, his voice, his advisedly [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>At last &#8230; the really &#8216;Big Red One&#8217;</title>
		<link>http://parallax-view.org/2012/05/09/at-last-the-really-big-red-one/</link>
		<comments>http://parallax-view.org/2012/05/09/at-last-the-really-big-red-one/#comments</comments>
		<pubDate>Wed, 09 May 2012 13:13:06 +0000</pubDate>
		<dc:creator>Richard T. Jameson</dc:creator>
				<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Bobby DiCiccio]]></category>
		<category><![CDATA[Brian Jamieson]]></category>
		<category><![CDATA[Christa Lang Fuller]]></category>
		<category><![CDATA[Kelly Ward]]></category>
		<category><![CDATA[Lee Marvin]]></category>
		<category><![CDATA[Mark Hamill]]></category>
		<category><![CDATA[Perry Lang]]></category>
		<category><![CDATA[Richard Schickel]]></category>
		<category><![CDATA[Robert Carradine]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Siegfried Rausch]]></category>
		<category><![CDATA[The Big Red One]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10854</guid>
		<description><![CDATA[[originally published in Steadycam, February 13, 2005; an earlier version of this article was published late 2004 in Queen Anne &#38; Magnolia News] Samuel Fuller—whose credit on his movies always read WRITER PRODUCER • DIRECTOR SAMUEL FULLER with WRITER on top like that—came to Seattle in May 1976 for a special appearance with two of [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>&#8216;Run of the Arrow&#8217;: Birth Pangs of the United States</title>
		<link>http://parallax-view.org/2012/05/08/run-of-the-arrow-birth-pangs-of-the-united-states/</link>
		<comments>http://parallax-view.org/2012/05/08/run-of-the-arrow-birth-pangs-of-the-united-states/#comments</comments>
		<pubDate>Tue, 08 May 2012 13:52:41 +0000</pubDate>
		<dc:creator>Rick Hermann</dc:creator>
				<category><![CDATA[by Rick Hermann]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Billy Miller]]></category>
		<category><![CDATA[Brian Keith]]></category>
		<category><![CDATA[Charles Bronson]]></category>
		<category><![CDATA[Chuck Hayward]]></category>
		<category><![CDATA[Chuck Roberson]]></category>
		<category><![CDATA[Frank DeKova]]></category>
		<category><![CDATA[H.M. Wynant]]></category>
		<category><![CDATA[Jay C. Flippen]]></category>
		<category><![CDATA[Joseph Biroc]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Neyle Morrow]]></category>
		<category><![CDATA[Olive Carey]]></category>
		<category><![CDATA[Ralph Meeker]]></category>
		<category><![CDATA[Rod Steiger]]></category>
		<category><![CDATA[Run of the Arrow]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Sarita Montiel]]></category>
		<category><![CDATA[Stuart Randall]]></category>
		<category><![CDATA[Tim McCoy]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=11004</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] As with many of Fuller&#8217;s films, Run of the Arrow is finally about nothing less that the United States, even though it is &#8220;just&#8221; a Western. As a matter of fact, it is perhaps the most conventionally &#8220;Western&#8221; of Fuller&#8217;s Westerns, the only one that really utilizes [...]]]></description>
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		</item>
		<item>
		<title>The Steel Helmet: &#8220;I&#8217;ve got a hunch we&#8217;re all going around in circles&#8221;</title>
		<link>http://parallax-view.org/2012/05/07/the-steel-helmet-ive-got-a-hunch-were-all-going-around-in-circles/</link>
		<comments>http://parallax-view.org/2012/05/07/the-steel-helmet-ive-got-a-hunch-were-all-going-around-in-circles/#comments</comments>
		<pubDate>Mon, 07 May 2012 17:36:56 +0000</pubDate>
		<dc:creator>Kathleen Murphy</dc:creator>
				<category><![CDATA[by Kathleen Murphy]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Gene Evans]]></category>
		<category><![CDATA[Harold Fong]]></category>
		<category><![CDATA[James Edwards]]></category>
		<category><![CDATA[Lynn Stalmaster]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Neyle Morrow]]></category>
		<category><![CDATA[Richard Loo]]></category>
		<category><![CDATA[Richard Monahan]]></category>
		<category><![CDATA[Robert Hutton]]></category>
		<category><![CDATA[Robert L. Lippert]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Sid Melton]]></category>
		<category><![CDATA[Steve Brodie]]></category>
		<category><![CDATA[The Steel Helmet]]></category>
		<category><![CDATA[William Chun]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10995</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] There are two kind of people in The Steel Helmet: those who are dead and those who are about to be; men who have ceased to move anywhere and mean anything, and those whose idiosyncratic, even crazy energy keeps them in motion until they too are stopped [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>&#8220;When it&#8217;s night time &#8230; &#8220;: Myth and the Geography of the Unconscious in &#8216;I Shot Jesse James&#8217;</title>
		<link>http://parallax-view.org/2012/05/03/when-its-night-time-myth-and-the-geography-of-the-unconscious-in-i-shot-jesse-james/</link>
		<comments>http://parallax-view.org/2012/05/03/when-its-night-time-myth-and-the-geography-of-the-unconscious-in-i-shot-jesse-james/#comments</comments>
		<pubDate>Thu, 03 May 2012 16:07:26 +0000</pubDate>
		<dc:creator>Rick Hermann</dc:creator>
				<category><![CDATA[by Rick Hermann]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Barbara Britton]]></category>
		<category><![CDATA[Barbara Woodell]]></category>
		<category><![CDATA[Ernest Miller]]></category>
		<category><![CDATA[I Shot Jesse James]]></category>
		<category><![CDATA[J. Edward Bromberg]]></category>
		<category><![CDATA[John Ireland]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Preston Foster]]></category>
		<category><![CDATA[Reed Hadley]]></category>
		<category><![CDATA[Robert L. Lippert]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Tom Noonan]]></category>
		<category><![CDATA[Tom Tyler]]></category>
		<category><![CDATA[Victor Kilian]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10920</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] &#8220;I wanted the camera to tilt slightly in one direction and the picture to tilt in another. So when it evens out, we have death. I wanted something weird in the beginning, but when it&#8217;s over, dead men are usually horizontal, and everything is simple, on one [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Hey, Mom, Where&#8217;s My Suicide Note Collection?</title>
		<link>http://parallax-view.org/2012/05/02/hey-mom-wheres-my-suicide-note-collection/</link>
		<comments>http://parallax-view.org/2012/05/02/hey-mom-wheres-my-suicide-note-collection/#comments</comments>
		<pubDate>Wed, 02 May 2012 15:47:58 +0000</pubDate>
		<dc:creator>Richard Thompson</dc:creator>
				<category><![CDATA[by Richard Thompson]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Park Row]]></category>
		<category><![CDATA[Samuel Fuller]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10907</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] Sam Fuller: &#8220;You can always tell about a leaper by the distance his toes are from the edge of either the window or the ledge of the roof he&#8217;s threatening to jump from. If you&#8217;re covering it, watch those toes. If they stick out, he&#8217;s not a [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Creature Contact</title>
		<link>http://parallax-view.org/2012/05/01/creature-contact/</link>
		<comments>http://parallax-view.org/2012/05/01/creature-contact/#comments</comments>
		<pubDate>Tue, 01 May 2012 16:30:58 +0000</pubDate>
		<dc:creator>Richard T. Jameson</dc:creator>
				<category><![CDATA[by Richard T. Jameson]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Dead Pigeon on Beethovenstrasse]]></category>
		<category><![CDATA[Fixed Bayonets]]></category>
		<category><![CDATA[Movietone News 50]]></category>
		<category><![CDATA[Run of the Arrow]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[The Steel Helmet]]></category>
		<category><![CDATA[Underworld U.S.A.]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10886</guid>
		<description><![CDATA[[Originally published in Movietone News 50, June 1976] Sam Fuller visited the Seattle Film Society the weekend of May 8 and, among many other things that happened within 46-and-a-half exhilarating, excruciating, mind-boggling, adrenalin-jagging hours, he told a story about Lazslo Kovacs and The Last Movie, in which Fuller played a movie director for director-of-the-movie Dennis [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Sam Fuller: An Introduction</title>
		<link>http://parallax-view.org/2012/05/01/sam-fuller-an-introduction/</link>
		<comments>http://parallax-view.org/2012/05/01/sam-fuller-an-introduction/#comments</comments>
		<pubDate>Tue, 01 May 2012 16:08:49 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Samuel Fuller]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10878</guid>
		<description><![CDATA[[originally published in the program for the Grand Illusion Sam Fuller series in 1999] Samuel Fuller straddled two generations: he was the last of that breed of old Hollywood tough guy directors and, along with Orson Welles, one of the first independent mavericks Like Howard Hawks and Raoul Walsh and William Wellman he came from [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Samuel Fuller: &#8220;Film is like a battleground&#8221;</title>
		<link>http://parallax-view.org/2012/05/01/samuel-fuller-film-is-like-a-battlefield/</link>
		<comments>http://parallax-view.org/2012/05/01/samuel-fuller-film-is-like-a-battlefield/#comments</comments>
		<pubDate>Tue, 01 May 2012 15:55:50 +0000</pubDate>
		<dc:creator>Editor</dc:creator>
				<category><![CDATA[Editor]]></category>
		<category><![CDATA[Essays]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Samuel Fuller]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=10871</guid>
		<description><![CDATA[“What is cinema?” asks New Wave icon Jean-Pierre Belmondo of Sam Fuller in Jean-Luc Godard’s “Pierrot le Fou.” He answers: “Film is like a battleground: love, hate, action, death&#8230; In one word, EMOTION.” It doesn’t matter whether Godard or Fuller wrote the line (regardless, Fuller’s gruff, cigar chomping delivery makes it his). It stands as [...]]]></description>
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		</item>
		<item>
		<title>Guédiguian&#8217;s French Resistance, Fuller&#8217;s America and Early Corman &#8211; DVDs of the Week</title>
		<link>http://parallax-view.org/2011/01/18/guediguians-french-resistance-fullers-american-and-early-corman-dvds-of-the-week/</link>
		<comments>http://parallax-view.org/2011/01/18/guediguians-french-resistance-fullers-american-and-early-corman-dvds-of-the-week/#comments</comments>
		<pubDate>Tue, 18 Jan 2011 20:11:17 +0000</pubDate>
		<dc:creator>Sean Axmaker</dc:creator>
				<category><![CDATA[Blu-ray]]></category>
		<category><![CDATA[by Sean Axmaker]]></category>
		<category><![CDATA[DVD]]></category>
		<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Roger Corman]]></category>
		<category><![CDATA[Sam Fuller]]></category>
		<category><![CDATA[Army of Crime]]></category>
		<category><![CDATA[Attack of the Crab Monsters]]></category>
		<category><![CDATA[Constance Towers]]></category>
		<category><![CDATA[Not of This Earth]]></category>
		<category><![CDATA[Peter Breck]]></category>
		<category><![CDATA[Roger Corman’s Cult Classics: Sci-Fi Classics Triple-Feature]]></category>
		<category><![CDATA[Shock Corridor]]></category>
		<category><![CDATA[The Naked Kiss]]></category>
		<category><![CDATA[War of the Satellites]]></category>

		<guid isPermaLink="false">http://parallax-view.org/?p=7180</guid>
		<description><![CDATA[Army of Crime (Kino Lorber) Don&#8217;t let the title throw you. The heroes of Robert Guédiguian&#8217;s based-on-a-true-story French war drama are not The Dirty Dozen unleashed on the Nazis but a remarkably effective resistance cell formed of French Jews, communists and immigrants—the very &#8220;undesirables&#8221; targeted by the Nazis for the camps. Guédiguian&#8217;s previous films—at least [...]]]></description>
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