Here is some contemporary analysis of that film from a chapter titled "Bauhaus of Horrors: Edgar G. Ulmer and The Black Cat," which appeared in Edgar G. Ulmer: Detour on Poverty Row, (2008) a volume edited by Gary Don Rhodes, a lecturer at Queen's University, Belfast.Quote:
My chapter begins by exploring the star qualities of The Black Cat's (1934) the two leading men, Bela Lugosi and Boris Karloff, and situating the filmic narrative in terms of transtextual motivation. [sic, sic, sic]
It is then argued that The Black Cat can be considered an "intellectual" horror film, drawing as it does on Bauhaus architecture, classical music, a pivotal game of chess, and German expressionism. It is my suggestion that Ulmer manipulates various aesthetic filmic forms to create a cerebral form of horror.
It is my suggestion that graduate students not be allowed to utilize modifiers in any circulated material they author.