Editing Nicholas Ray (section)

=== Genre ===
Ray distinguished himself by working in nearly every conventionalised Hollywood genre, infusing them with distinctive stylistic and thematic approaches: [[Crime film]]s, within the film noir cycle:  ''They Live By Night'', ''In A Lonely Place'', and ''On Dangerous Ground''; the [[social problem film]] ''Knock On Any Door''; [[Western (genre)|Westerns]]: ''Run For Cover'', ''Johnny Guitar'', and ''The True Story of Jesse James''; [[Woman's film|Women's pictures]]:  ''A Woman's Secret'' and ''Born To Be Bad''; [[War film|World War II dramas]]:  ''Flying Leathernecks'' and ''Bitter Victory''; the family [[melodrama]]:  ''Rebel Without A Cause'' and ''Bigger Than Life'': [[Epic film|Epic spectacles]]:  ''King of Kings'' and ''55 Days at Peking''.  Yet he also applied himself to films that fell between genres, such as the gangster film, punctuated by dance numbers but not quite a [[Musical film|musical]], ''Party Girl'', and others of more marginalised categories—the rodeo film ''The Lusty Men'', the ethnographic dramas ''Hot Blood'' and ''The Savage Innocents''—or which even predicted more significant, later concerns, such as the ecologically themed drama ''Wind Across the Everglades''.