@noahisenberg.bsky.social
Film scholar @ UT-Austin & exec director UTNY + UTLA | ‘26 Guggenheim fellow | books on ‘Casablanca’ + ‘Some Like It Hot’ (W.W. Norton + Faber), ed. Billy Wilder on Assignment (Princeton) | bylines: NYT, TNR, NYR, et al. | views = mine www.noahisenberg.com
@foreverlouiseb1.bsky.socialReposted by @noahisenberg.bsky.socialLouise by Emil Bieber for the cover of Die Ehe magazine, Berlin March, 1930.
@noahisenberg.bsky.socialHow the week's going so far.
@bertrom.bsky.socialReposted by @noahisenberg.bsky.socialThelma Schoonmaker.
An absolute genius at the Steenbeck. I love her work. And, what a life. You only have to watch Raging Bull to see the the absolute beauty and precision of her work.
@lithiumchaser.bsky.socialReposted by @noahisenberg.bsky.socialAva Gardner for The Killers by Robert Siodmak (1946)
@noahisenberg.bsky.socialOnly the best people. . .
@sundaedivine.lolReposted by @noahisenberg.bsky.socialWhen you lie on your resume but get the job anyway.
@neckties-of-noir.bsky.socialReposted by @noahisenberg.bsky.socialThe original, picturing yourself behind the wheel. That sure was fun.
@dean.bsky.socialReposted by @noahisenberg.bsky.socialCelebrate the Ray Brown Centennial 🎂💯
📷 Herman Leonard, 1948
"His notes are shapely -- fat and round and well-defined -- and his rhythm is so propelling that on up-tempo pieces his eighth-notes are always blowing wind into the music."
- Ben Ratliff
@foreverlouiseb1.bsky.socialReposted by @noahisenberg.bsky.socialLupe Velez by Ray Jones, 1933.
@jondmaas.bsky.socialReposted by @noahisenberg.bsky.socialA woman inserts a dollar bill into a Macy's vending machine that sells men’s underwear. George Mattson/photog New York Daily News
@foreverlouiseb1.bsky.socialReposted by @noahisenberg.bsky.socialHedy Lamarr in a classic photo by Atelier Manassé for Ekstase (Ecstasy) (1933).
@midcenturycinema.bsky.socialReposted by @noahisenberg.bsky.social10/13/50 All About Eve - W/D JL Mankiewicz
w/marvelous Bette Davis, Anne Baxter, Thelma Ritter & Mr George Sanders
More
@tnyfrontrow.bsky.social: www.newyorker.com/culture/rich...
@carolinesiede.bsky.social: www.avclub.com/all-about-ev...
@odienator.bsky.social: www.slantmagazine.com/film/eve-of-...
@skot.bsky.socialReposted by @noahisenberg.bsky.social
@romanbone.bsky.socialReposted by @noahisenberg.bsky.socialCarole Lombard publicity for High Voltage (1929).
@mary1kathy.bsky.socialReposted by @noahisenberg.bsky.socialI love this!
@thenoircollective.bsky.socialReposted by @noahisenberg.bsky.socialTHIS WED at 8 PM ET/5 PM PT:
A shadow, a scream – and 103 minutes of edge-of-your-seat suspense.
@ladykdesigns.bsky.social hosts #TheNoirCollective watch party of THE UNSUSPECTED (1947), with special guest @anne-hockens.bsky.social of the Film Noir Foundation.
@skot.bsky.socialReposted by @noahisenberg.bsky.socialGood morning!
@noahisenberg.bsky.socialDrop some MUSIC 🎸🥁🖤🎤🎶
@noahisenberg.bsky.socialOnly the best people . . .
Kimberly Guilfoyle Resigns as Ambassador to Greece www.nytimes.com/2026/10/13/u...
@romanbone.bsky.socialReposted by @noahisenberg.bsky.socialAustrian dancer, choreographer, actress, and painter, Tilly Losch, 1928
