The Men (1950) by Fred Zinnemann: Paraplegia and main protagonists in the rehabilitation of a disability by Palmer José HERNÁNDEZ-YÉPEZ

“…<p><em>The Men </em>(1950) by Fred Zinnemann and starring Marlon Brando, is a movie that shows the story of Lieutenant Ken Wilcott, who suffers from paraplegia due to a gunshot wound in the back when he was on duty in World War II. …”
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More than Meets the (Heterosexual) Eye: Soldierly Queerness, Wartime Bisexuality, and Fred Zinnemann’s Films Starring Montgomery Clift by Kylo-Patrick R. HART

“…When it comes to director Fred Zinnemann’s two films starring Montgomery Clift – 1948’s The Search and 1953’s From Here to Eternity – there is certainly much more going on at the level of intriguing subtext than typically meets the (heterosexual) eye. …”
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Ph.D. Thesis Project - "As a Person I Am a Synthesis between Europe and America." Individualism and the Experience of Exile in the Films of Fred Zinnemann by Imme Klages

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Música para una venganza. Racismo, violación y asesinato el caso de El último tren de Gun Hill (John Sturges, 1959) by Lucía Pérez García

“…For this, the composer usesonce again the monothematic technique that made him successful in the fifties and in his previous western with the director, Gunfight at OK Corral(1957), becoming the reference point of the Western film music since High Noon(Fred Zinnemann, 1952). Analyzing the score and the scrip and comparing them with those of the two other works in which Tiomkin had to deal with rape and vengeance, it is proved that the whole music of The Last Train from Gun Hill gives voice to the outraged woman, who uses the various characteristics and variations of the main theme to guide the actions of the male protagonist. …”
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El cine y las luchas populares by Martin Lienhard

“…En Hispanoamérica y Brasil, con excepciones como la ficción mexicana casi neorrealista Redes de Paul Strand, Fred Zinnemann y otros (1933-1936), el cine tarda un poco en empezar a centrarse en momentos importantes de la lucha de clases, pero lo hace a partir de concepciones teóricas y estéticas “más nuevas”, inspiradas, directa o indirectamente, por la nouvelle vague francesa. …”
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Note sulla violenza in Django Unchained by Stefano Rosso

“…Si pensi ai romanzi che hanno segnato il canone classico come The Virginian (1902) di Owen Wister, Riders of the Purple Sage (1910) di Zane Grey, ai best-seller di Luke Short e Louis L’Amour, ai radiodrammi di grandissima diffusione come The Lone Ranger o ai film che hanno segnato la storia del cinema come Stagecoach (John Ford 1939), Red River (Howard Hawks 1948), High Noon (Fred Zinnemann 1952), o ancora alle serie televisive popolarissime degli anni Cinquanta come Bonanza e Gunsmoke. …”
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Marxismo y socialismo mexicano en Redes, de Paul Strand y Carlos Chávez, con música de Silvestre Revueltas by Leonora Saavedra

“…Utilizando documentos de archivo, hago un recuento de la radicalización política de Strand en México, muestro la clara autoría intelectual del fotógrafo (a pesar de que el film se presenta en los créditos como obra del director Fred Zinnemann), discuto los lineamientos de la SEP dentro de los cuales Strand trabajó y hago una lectura marxista del film para señalar su mensaje político específico. …”
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