DigitalCommons@C.O.D.

Waters, Jim

The Prairie Light Review 
Volume 42 Number 1 Article 66 
Fall 12-1-2019 
Red Raincoat 
Jim Waters 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/plr 
Recommended Citation 
Waters, Jim (2019) "Red Raincoat," The Prairie Light Review: Vol. 42 : No. 1 , Article 66. 
Available at: https://dc.cod.edu/plr/vol42/iss1/66 
This Artwork is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in The Prairie Light Review by an authorized editor of DigitalCommons@COD. For 
more information, please contact orenick@cod.edu. 
Correspondence
     At 7:23, an envelope arrived marked personal. Josi read it on the train to 
work, expecting some big revelation. The letter to change all letters. Instead, 
the scratchy script sunk into the page, dragging her into the black, inky hole 
they created. She shouldn’t be surprised, she realized. Ron had never been one 
to change the way he felt once things were settled, but still, her hope persisted 
until it didn’t. She took a few, slow deep breaths (the kind Dr. Markes suggested 
when she felt like passing out) and tried to think logically. She could drive the 
537.65 miles just to scream in his face-that’s what she really wanted to do. Her 
mother would lend her a car or, if  not, maybe a neighbor would. It would only 
take ten hours. She had calculated this when she was planning a much nicer 
visit to his villa. He always had some pretentious name for his shit. It couldn’t 
be a house; it was a villa, and he slurred the ll’s together in a pseudo-Spanish 
accent to sound what? Suave? Intriguing? Boy, had Josi eaten it up.
     For over two years, she had played the fool. Now, all that built up stupidity, 
she thought was love felt meaningless. All the sadness she was supposed to feel, 
just wasn’t there. Anger. Only anger was there. Anger filling up a cup of  hot 
water until there was no more ceramic to fill. Water passed the lip of  the cup, 
burned her hands, and spilled all over the floor. Josi picked up her phone and 
dialed her mother. 
Eleanor Zilius
Red Raincoat.  Jim Waters, Photograph.
Light Spectrum (at left). Colin Nugent, Photograph.
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English

Red Raincoat

Fabrizio, Erin

The Prairie Light Review 
Volume 42 Number 1 Article 85 
Fall 12-1-2019 
Thursday (On A Tuesday) 
Erin Fabrizio 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/plr 
Recommended Citation 
Fabrizio, Erin (2019) "Thursday (On A Tuesday)," The Prairie Light Review: Vol. 42 : No. 1 , Article 85. 
Available at: https://dc.cod.edu/plr/vol42/iss1/85 
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in The Prairie Light Review by an authorized editor of DigitalCommons@COD. For 
more information, please contact orenick@cod.edu. 
Thursday (on a Tuesday)
Erin Fabrizio
     It was Tuesday, and it seemed like the weekend was an unreachable, 
unattainable goal; just a flicker of  light at the end of  an infinitely long 
tunnel. Tuesdays were always the worst day of  the week for me. Most people 
hated Mondays but for me, Tuesday was when the real dread set in. My 
father is prone to depression and perhaps some of  that had been genetically 
passed on to me, ignited once a week, because there was just something about 
Tuesdays that had me longing for a Monday.  
     But that week, there was something electric in the air. Not only had I just 
plucked my first gray hair and managed to only slightly freak out about it, but 
my favorite band, Thursday, had recently come out with a new album and 
their song, “We Will Overcome” was thoroughly stuck in my head. Ruing a 
recent breakup, waffling about whether I should go to grad school, and hating 
my job were standard daily activities, and the lyrics of  “We Will Overcome” 
were powerful to me even though I didn’t particularly know what they were 
about. What was Thursday overcoming? From listening to their previous two 
albums, I gathered that the singer, Geoff Rickley, was trying to overcome the 
fear, sadness, and anger associated with losing someone in a car accident. I 
felt for him and could really hear the pain in his voice - always there, always 
the same anguished and raspy voice encouraging that “we will overcome.”
       Me? I was overcoming the residue of  yet another bad dream last night. 
I was overcoming the discouragement that resulted from defaulting my 
college major to something I could take alongside my friends. I overcoming 
the disappointment of  breaking off a 5-year relationship when I knew it 
just wasn’t going to work. I was overcoming my hesitancy to stand out, by 
embracing my weirdness and dying my hair purple or pink depending on 
my mood. And on this particular day, I was overcoming my desire to tell my 
boss to shove it.  Thursday and I were constantly overcoming the trials of  life. 
Mine just happened to be less horrific.
     The weather had changed that week of  early June, 2006, and had begun 
to be consistently a beautiful, 75 degrees. The trees were bright green and 
at this time of  year, the sun was just high enough so that at noon I could sit 
in front of  the building and not be in its shadow. Our office was so dark that 
every day at lunch, I felt like I was crawling out of  a bomb shelter that I’d 
entered in 1968. Armed with my iPod, I think it may have felt natural to hiss 
at the bright yellow sun if  I didn’t long for its light all day. As I squeezed onto 
a crowded elevator, Geoff Rickley chanted in my ear, “Follow the path that’s 
straight and narrow, hand in hand. Our roads are paved with broken arrows. 
We will overcome!”  
     As often as work allowed, I ate lunch outside on the river. My job felt 
like a personalized form of  hell, but the architecture of  35 E. Wacker was 
beautiful, and I took solace in the fact that my building had been used in the 
filming of  Batman Begins. Christian Bale had stood on one of  the gothic 
columns at the top of  the building and looked watchfully over the city (placed 
there with computer graphics imagery, but still. Batman.) My Tuesday lunch 
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breaks were so different from the dark, mysterious world that Batman lived 
in. I imagined him up there looking down on the Chicagoans hurrying 
around, protecting us from excessive cab fares, and long lines at Subway. 
Like Batman, I liked watching people go about their day, and on the days 
when I sat there by the river, it felt peaceful.
     On that particular Tuesday, however, I was not going to be eating lunch 
on the river. My friend and former co-worker, Vince, had invited me to go 
to lunch with him and we were meeting at a restaurant that was between 
our two offices on Wacker Drive. Usually I was more excited to leave work 
than I was to see Vince, but that day was different. Something electric was 
in the air.
     As I walked down Wacker Drive, I could see his gangly strides approaching 
me about two city blocks down. There is no mistaking his gangly strides. His 
arms flail everywhere and his toes point inward. His lack of  a butt means his 
pants are consistently too long and bunch up around the ankle. His height 
and broad shoulders offset his slim frame but leave his torso swimming in 
XL shirts with no hope of  rescue. His hair, on the other hand, is perfect; 
long, brown and shiny in the sun and it blows around in the wind like it 
has a life of  its own. I’m fairly certain that he grew his hair long upon my 
recommendation a year ago when we worked together. Prior to having 
luscious locks, he slicked his short hair back like a 1930’s hitman which 
complimented neither his quirky, heart-on-his-sleeve personality nor his 
humongous Italian nose. I’d mentioned to him one day while at the fax 
machine that I thought his hair would look good long, and ungreased.  He 
scoffed at the idea of  having hair like anyone other than Michael Corleone, 
but slowly I began to notice the change.  
     I admired my handiwork as it neared me, and adjusted the mini Geoff 
Rickley in my ear. I pretended not to see him so that when he saw me, he 
would notice how gracefully I walked (starting now) and how I had a distant 
longing look in my eye (that I initiated on command upon seeing him in the 
distance). It was fun to flirt with Vince. He was easily flustered, which was 
very entertaining. He was going to see how lost in thought I was, and the 
mystery of  my thoughts subject would keep him thinking about me for days. 
This had become my normal routine, provided I didn’t trip on a crack in 
the sidewalk and ruin it (completely related side note: I frequently did trip 
on cracks).
     But then something happened that I did not intend. There is a part of  
“We Will Overcome” that crescendos in an arm hair-raising chorus that I 
loved cranking up as loud as Steve Jobs allowed. Encouraged by my success 
at avoiding sidewalk cracks, I continued making flirtatious eye contact with 
smiley Vince. Just a few steps before we reached each other, my favorite, 
overly-recited words pounded in my eardrums. “We will overcome.  We will 
overcome.  Will overcome.  We will wait for this. We waited too long. To see 
the Promised Land.” I hit the PAUSE button.
     Wait - what!? 
     This was completely unplanned.  I’d felt like Thursday and I were 
in this thing together - overcoming stuff and whatnot – but now I was in 
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it alone; the lyrics seemed to have changed their meaning for me 
mid-stroll.  My intention was to wistfully look up at him through a 
fuzzy lens like Ingrid Bergman in Casablanca but instead, I looked 
into Vince’s eyes – really looked – and time stopped.  There was a 
whooshing and a tunnel of  light and a lot of  color.  I could see all 
kinds of  things in there; love and caring, wisdom, an old way of  doing 
things, curiosity about me, and timelessness that I had never known. 
It was as though I was both traveling through time, and standing still 
overlooking all of  time – at the same time.  I could see the brilliance 
and depth and complexity of  Vince’s life and the glow of  his wit and 
humor in it all. Above all, there was an innocent, yet ancient longing 
for reciprocation. 
     I felt like I was seeing him for the first time. My future husband. I 
suddenly knew that I wanted to know everything about him.
    And it freaked me out.
    But I couldn’t tear myself  away from looking into his beautiful eyes. 
And to my surprise, his eyes weren’t brown – they were hazel, and I 
saw this now for the first time. They reminded me of  mint chocolate 
chip ice cream.  Little brown flecks floating on a sea of  emerald green. 
And his super silky hair, which was floating in and out of  the way of  
my unyielding gaze, arranged around his face like stage curtains.  I 
had the urge to microwave some popcorn and watch this show for the 
next several hours.
     Instead, I forfeited my creepy, one-sided staring contest and took 
off my iPod. I thought about the song lyrics again, “We waited too 
long to see the Promised Land.” I’d been waiting a long time to have 
a decent job with a cool boss who didn’t frown on individualism, but 
that wasn’t what Geoff Rickley was singing about anymore. Honestly, 
I didn’t even know who was singing anymore– me or Geoff. For the 
love of  god, had I just sung the lyrics out loud!?
    I put the headphones in my bag, cringing at the thought that I may 
have just given away everything I was thinking. Vince gave me his 
characteristically lanky one-armed hug, “hello.” I considered the fact 
that he was most likely oblivious to my new found meaning in this 
song that he’d probably never even heard. 
     He flipped his hair back and asked, “You weren’t waiting long, 
were you?”      
     The only word I was able to get out was, “Yes!”
Batman 2000
(at right)
 Mike Stone
Digital Art
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Fabrizio: Thursday (On A Tuesday)
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Thursday (On A Tuesday)

Cohn, Josiah

Breaking Down the Fixing Up Industry

Geary, John

The Dark Money of Climate Change

Hink, Savannah

ESSAI 
Volume 17 Article 22 
Spring 2019 
Exploring the Auteur Elia Kazan 
Savannah Hink 
College of DuPage 
Follow this and additional works at: https://dc.cod.edu/essai 
Recommended Citation 
Hink, Savannah (2019) "Exploring the Auteur Elia Kazan," ESSAI: Vol. 17 , Article 22. 
Available at: https://dc.cod.edu/essai/vol17/iss1/22 
This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It 
has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, 
please contact orenick@cod.edu. 
61 
Exploring the Auteur Elia Kazan 
 
by Savannah Hink 
 
(Motion Picture Television 1113) 
 
 
 
Who is Elia Kazan? 
 
lia Kazan was a prominent film director active between the 1940's through the 1970’s. Along 
with directing, Elia Kazan was an actor, a playwright, Broadway director, and writer. Kazan 
was born to Greek parents living in Turkey on September 7, 1909. His family immigrated to 
New York City when he was just four years old. To the dismay of his father, who wanted him to 
work in the family rug trade business, Kazan majored in English literature at Williams College, 
where he discovered an interest in theatre. He proceeded onto the Yale School of Drama, before 
leaving graduate school to join The Group Theatre. When the Group Theatre disbanded in 1941, 
Kazan shifted his career from acting to directing. As a director, Kazan emerged as the leading 
exponent of psychological realism via his film and stage productions throughout the forties and 
fifties. His works mainly reflected both social struggle and personal pain. Over his career, Kazan 
received three Tony Awards and two Academy Awards for his directorial work. He was often seen as 
a controversial figure, mainly when he "named names" of former Communist Party associates in a 
1952 government investigation.  He made his last film in 1976, in which he followed his true passion 
to become a writer. Kazan died in New York City in 2003 at the age of 94. 
 
Why is the Elia Kazan important in the history of film? 
 
Elia Kazan is usually regarded as an “actor’s director” due to the nature of how he worked 
with them. He gave his cast freedom and even encouraged improvisation. Kazan pioneered the 
adoption of Russian actor, director, and teacher Konstantin Stanislavski’s “Method” style of acting to 
the screen. Film historian Foster Hirsch explains that "he virtually created a new acting style in films, 
which was the style of the Method ... [that] allowed for the actors to create great depth of 
psychological realism." (King, Susan. Elia Kazan, an actor’s director. Los Angeles Times, 2010.) 
Although Kazan did not invent the style of acting (rather he obtained it from his colleague in The 
Group Theatre, Lee Strasberg), he was the first director to implement the technique in films. 
Strasberg’s version of the “Method” trained actors through a series of exercises that focused on 
relaxation, concentration, sense, and emotional memory (Jacques, Geoffrey. The Art of Elia Kazan. 
Simon Fraser University, 2016.) “I’ve never seen a director who became as deeply and emotionally 
involved in a scene,” Marlon Brando wrote in his autobiography, “Songs My Mother Taught Me.” 
“Kazan was the best actors’ director by far of any I’ve worked for. [He] got into a part with me and 
virtually acted it with me.” (Lahr, John. Method Man. The New Yorker, 2017). Brando is often 
associated with being a model exemplar of this technique, as well as modern days actors such as 
Robert De Niro, Leonardo DiCaprio, and Christian Bale. Without Kazan’s implementation of 
Method acting, performances would lack a sense of realism. He also founded the Actor’s Studio in 
1947 which to this day allows actors a space to work together in and develop their skills 
(Manolikakis, Andreas. A History of The Actors Studio. The Official Site of The Actors Studio, 
2014). 
Cinematically, Kazan’s films helped shape the stylistic, thematic, and ethical concerns of the 
drama genre. Most of his films implement some type of personal and social realism. He insisted for 
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his film, On the Waterfront to be shot on location during the coldest New Jersey winter during that 
time, he used real apartments and saloons, and even casted non-actors to mingle with his professional 
actors. Up until this film, most American directors where shooting on sound stages. His strive for 
realism inspired up and coming directors. Director Martin Scorsese admits in a documentary titled 
“A Letter To Elia” that On the Waterfront was the first time he had seen a movie with familiar people 
and settings. “It was if the world I came from, the world I knew, mattered.” (Scorsese, Martin. A 
Letter to Elia. PBS, 2010.) 
 
Why is Elia Kazan considered an auteur?  What signature traits in the body of work 
personalize him? 
 
 Elia Kazan’s films were usually very personal. Characters storylines and beliefs related to his 
own experiences, whether it be from his career or private life.  In an interview, Kazan admitted, “In 
some subtle or not-so-subtle way, every film is autobiographical. A thing in my life is expressed by 
the essence of the film. Then I know it experientially, not just mentally. I've got to feel that it's in 
some way about me, some way about my struggles, some way about my pain, my hopes.” (Tresgot, 
Annie. Elia Kazan: An Outsider. Argos Films, 1982). As for the protagonist, each film’s central 
character is usually an outsider, which Kazan often classified himself as. The films follow the 
outsider character as he or she fights for inclusion into their family or society. 
After Kazan’s testimony to HUAC in 1952, almost all of his films explored the theme of 
ambivalence. These included characters facing uncertainty about choices and distinctions between 
the good and bad. In an interview with Michel Ciment, Kazan stated that after his testimony, he 
“realized the ambivalence of things. Things on both sides were valuable. You have to lose one thing 
to get another.” He claims his view of humanity became complex after suffering a lot of pain. 
(Tresgot, Annie. Elia Kazan: An Outsider. Argos Films, 1982). Themes of betrayal explored in his 
films are also a direct result of HUAC testimony and there is often a critique of puritanism. Kazan 
was also a fan of using visual symbolism, especially implementing the color white to exhibit purity. 
Kazan believed that the pictures themselves should tell the story, not the dialogue. He even uses 
symbolism subconsciously, as he admitted in an interview that water is a common character in his 
films. He theorizes this is in part due to the fact he was born in water and lived by the bay in his 
formative years (Tresgot, Annie. Elia Kazan: An Outsider. Argos Films, 1982). 
 
What are some of his films that implement these traits? 
 
On the Waterfront (1954), East of Eden (1955), and Splendor in the Grass (1961) are three 
films that I believe highlight these central themes and styles nicely. All these films include a central 
outsider character, a personal connection to Kazan, themes of ambivalence and betrayal, and visual 
symbolism. It is also important to note that each of these films came out after Kazan’s testimony to 
HUAC. 
 
How does “On The Waterfront” use these traits? 
 
On The Waterfront was the first film to come out after Kazan’s testimony, released on July 
28, 1954. The screenplay was written by Budd Schulberg, but Kazan worked closely with him during 
the process. The main character Terry Malloy, portrayed by Marlon Brando, decides to testify against 
the mob and stand his ground for honesty and truth. Together with screenwriter Budd Schulberg, 
Kazan’s own life coincides with the thought that honesty is the best policy. Terry is an outsider 
struggling for inclusion into the mob because he has a difficult time deciding between right and 
wrong. This is directly connected with the difficult choice Kazan had to make when he informed on 
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former friends and associates during his HUAC trials. In regard to the trial, Kazan said “I don’t think 
there is anything in my life towards which I have more ambivalence.” He compared himself to his 
filmic counterpart: “Terry Malloy felt as I did. He felt ashamed and proud of himself at the same 
time. He wavered between the two…. He felt like a fool, but proud of himself…. That kind of 
ambivalence.” (Hey, Kenneth. Ambivalence as a Theme in On the Waterfront. American Quarterly, 
1979). 
The theme of betrayal is explored in a monologue between the two brothers, Charley, 
portrayed by Rod Steiger, and Terry. Because of Charley’s ties to the mob, Terry felt betrayed by his 
brother, who should’ve looked out for him. “You don’t understand, I could have had class, I could’ve 
been a contender, I could’ve been somebody,” says Terry, realizing the extent of his brother’s 
betrayal. Terry also acts in betrayal of the local mob bosses when he testifies against them. 
Kazan, being the “actor’s director” he was, often let the actor be free to express their own 
ideas. In an iconic scene, Brando picks up a glove dropped by Edie. Other directors might’ve called 
cut since it didn’t reflect their own vision, but in this scenario, Kazan loved it. Terry tries on her 
glove, almost as if he were about to "try out" her moral values. He had worn boxing gloves for the 
mobsters, and he will now try to fit into the white glove of virtue. The symbolism in this scene is 
connected to the theme of ambivalence. That white glove demonstrates that Terry is trying on her 
perspective of life, where "everybody [should] care about everyone else." As soon as Terry puts on 
Edie's glove, he tells her he remembers her when she was a child. This is important because Terry is 
acknowledging her innocence, and this contrast himself, for he was "always getting in trouble". 
(Biskind, Peter. The Politics of Power in ‘On the Waterfront’. Film Quarterly, 1975). There’s a clear 
distinction between good and bad, and Terry begins his journey to seek a good, honest life. 
 
How are the traits portrayed in “East of Eden”? 
 
East of Eden, released on March 9, 1955, told the story of a father/son relationship based on 
the novel written by John Steinbeck. Kazan was drawn to the universality of the story and was 
intrigued by the characters’ ambivalence toward one another. Cal (James Dean) was the outsider both 
in his community and his family where he was pushed away by his father’s strict Puritan views and 
his brother Aron’s goodness. Cal rejected his father’s religious beliefs and considered himself “bad” 
because he took after his estranged mother. When his father’s invention fails, Cal tries to fight for 
inclusion into his family by earning back the money his father had lost. 
Once again, East of Eden relates to aspects of Kazan’s own life. “East of Eden was for me a 
kind of self-defense,” Kazan said in one interview. “It was about people not understanding me. It was 
about my relationship with my father, how he disapproved of me all the time… It also proved to be 
prophetic because a few years later, shortly before my father died, for the first time in my life, I got 
friendly with him, just as Cal gets friendly with his father [at the end of the films]” (Lahr, John. 
Method Man. The New Yorker, 2017). Kazan also admitted that he “saw the Dean character as 
similar to myself. I loved my brother, but my father always preferred him.” (Silva, Michael Da. East 
of Eden. Senses of Cinema, 2014). Kazan’s father wanted him to inherit his rug business, but his 
mother helped him attend college instead. Kazan also often criticized the Puritanism ideology that 
“this is right, and this is wrong.” This feeling is essential to the ambivalence that resides in East of 
Eden’s plot and characters. Throughout the film, Cal frequently describes other characters as “good” 
or “bad”, but there’s ambivalence between the definitions. Kazan commonly noted that the film’s 
“bad boy” is actually “good”. In the beginning, Aron represents goodness, but his jealousy causes his 
descent. In the end, Cal is the one there for his father on his deathbed and the roles have been 
reversed. Similar to On the Waterfront, we also see a betrayal between brothers take place. This time, 
it involves a kiss between Cal and his brother’s fiancé, Abra. Abra’s outfits are often symbolic of her 
romantic interest towards Cal. She is usually dressed in vibrant, bright colors in scenes with Cal that 
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contrast scenes featuring Aron. Because Kazan liked to rely on visuals to convey meaning, most of 
the attraction between Cal and Abra is insinuated until they finally share the kiss that leads to Cal’s 
betrayal. 
 
Finally, how does “Splendor in the Grass” exemplify his traits? 
 
 Splendor in the Grass was released a few years after On the Waterfront and East of Eden on 
October 10, 1961. The film follows two teenage lovers, Bud (Warren Beatty) and Deanie (Natalie 
Wood), as they are put under extreme pressure by their parents—Bud to succeed and Deanie to 
remain a virgin. Once again, the central characters are outsiders. Deanie due to her conflicting sexual 
desires, and Bud due to his conflicting thoughts about his future. Her journey for inclusion into 
society and her family starts when she’s placed in an institution after a failed suicide attempt due to 
the heartbreak caused by Bud. Interestingly, Bud’s inclusion does not happen until his father 
succeeds in committing suicide, when he finally follows his dream of ranching on the family farm. 
 This film also dealt again with the abiding issues of Kazan’s own life: sexual hypocrisy and a 
destructive father-son struggle. Kazan believed sex was always looked at as something that needs to 
be repressed and Splendor in the Grass is his critique against the Puritan views (like those expressed 
in East of Eden). In Kazan’s mind, contemporary mores dictated by the so-called older generation 
were obsolete and deceitful. Kazan also said this film mimics the relationship he had with his father 
during the great depression, and he projected his own father’s single-minded views and overweening 
materialism into Bud’s father. (Kiick, Katy. Exploring Material Culture in Four Films by Elia 
Kazan. Smithsonian Libraries, 2011) 
The theme of ambivalence is also present in this film, as both Deanie and Bud have difficulty 
deciding what's truly “good” or “bad”. Bud also seems to be betraying Deanie when he decides to 
break-up with her solely so he can have sexual relations with another girl. Ambivalence is also 
revealed through Kazan’s use of symbolism. At the end of the film when Deanie visits Bud, Deanie 
is dressed in white, which suggests virginal purity, but her dress reveals more than it conceals, thus 
hinting the conflict she experiences concerning her sexual desire. Interestingly, all three of the films 
discussed offer symbolism in the form of clothing. It’s a simple trait that lends nicely to 
understanding the main characters. 
 
 
  
 
Bibliography 
 
Biskind, Peter. “The Politics of Power in ‘On the Waterfront.’” Film Quarterly, vol. 29, no. 1, 1975, 
pp. 25–38. JSTOR, JSTOR, www.jstor.org/stable/1211838. 
Hey, Kenneth. “Ambivalence as a Theme in ‘On the Waterfront’ (1954): An Interdisciplinary 
Approach to Film Study.” American Quarterly, vol. 31, no. 5, 1979, pp. 666–696. JSTOR, 
JSTOR, www.jstor.org/stable/2712431. 
Jacques, Geoffrey. “Promises, Trust, Betrayal: The Art of Elia Kazan.” SFU Library, 2016, 
journals.sfu.ca/jmh/index.php/jmh/article/viewFile/301/303. 
Kiick, Katy. “Exploring Material Culture in Four Films by Elia Kazan.” Smithsonian Libraries, 
2011, repository.si.edu/bitstream/handle/10088/20478/Text.pdf?sequence=1&isAllowed=y. 
King, Susan. “Elia Kazan, an Actor's Director.” Los Angeles Times, 2010, 
articles.latimes.com/2010/feb/17/entertainment/la-et-classic-hollywood17-2010feb17. 
Lahr, John. “Method Man.” The New Yorker, The New Yorker, 19 June 2017, 
www.newyorker.com/magazine/2010/12/13/method-man-john-lahr. 
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Manolikakis, Andreas. “A History of The Actors Studio – The Official Site of The Actors Studio.” 
The Official Site of The Actors Studio, 2014, theactorsstudio.org/a-history-of-the-actors-
studio/. 
Scorsese, Martin and Kent Jones, directors. A Letter To Elia. PBS, 2010. 
Silva, Michael Da. “East of Eden.” Senses of Cinema, 4 June 2014, 
sensesofcinema.com/2012/cteq/east-of-eden/.  
Tresgot, Annie, director. “Elia Kazan: An Outsider.” Argos Films, 1982. 
https://www.youtube.com/watch?v=HUaC1DGcZ9A 
 
 
 
 
 
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