From Show magazine, July 9, 1970, p. 12 ("Showing Up" section), A short piece about Gordon Willis:

"Cinematographer Gordon Willis has become recognized as one of the great talents working in films today. So far this year he has in release End of the Road, Loving, and The Landlord. With stark simplicity, he has found out how things really look, distilling appearances and discovering a reality that transcends most of what has been seen on the screen up until now. With the most accurate, artistically devised lighting, he has developed a style that is clearly his own, but that is also perfectly right for the style of the film. He starts filming Alan J. Pakula's Klute next month in New York, where he has a knack of fining more poetry in litter than most cinematographers can find in a rose garden."

A trio of great articles, all coming out of McGill on crime, film, and city-space (they have, apparently, a crime and media working group). 

Ned Schantz writes "The Telephonic Film" (in Film Quarterly) arguing that it may be productive to see the uses and fantasies of the telephone in Classical Hollywood film as akin to the importance of the letter to the development of the novel. He concentrates on the presence but relative invisibility of the phone, glosses over some telephonic visual conventions, and does analyses of It's a Wonderful Life, The Big Sleep, Chinatown, and Sorry, Wrong Number. May be interesting to extend these ideas - or the concept of telephonic film into "Post-Classical Hollywood." 

Thomas Heise is interested in crime, urban geography, and literature (also film, I think) and has a few interesting essays out, one on Chester Himes' novel Blind Man With a Pistol, "Harlem is Burning: Urban Rioting and the 'Black Underclass' in Chester Himes' Black Man with a Pistol" (African American Review, 41 [3]). The intro sets up the problematic nature of the term "black underclass" and how it is introduced into sociological and public discourse in the 1960s,  looking at a few different studies during that time, not just the Moynihan report. He argues that "in circulating representations of black pathology and in furthering a misguided policy agenda that alienated poor, urban African Americans, this discourse constituted the new racial and class formation it claimed merely to discover and describe: a black underworld trapped below the lowest rung of the class ladder in a culture of poverty, disease drugs, violence, and vice." (488).

Finally, I have not really followed Will Straw too closely, except looking at a recent book called Cyanide and Sin. He actually has quite a few interesting essays on urban visual culture, particularly as it relates to crime fictions. Have not quite worked through everything yet, but there is an interesting symposium paper about film and city skylines at the logocities website (out of Concordia), as well as an essay called "Cities of Sin, Backroads of Crime" which I believe is about representations of urban spaces in print culture of the 1950s.  

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Also, in an effort to jump start my work on Pakula and Klute I have been reading through some of the criticism. It seems that Klute was at the center of a mild debate regarding the path of feminist criticism. Most famously, Christine Gledhill argued in a two-part essay in Women in 

Film Noir that Klute's adoption of noir conventions works to constitute a definitively anti-feminist message (this, against a review of the film by Diane Giddis which proclaims Bree Daniels a feminist hero). Rafaele Caputo later (in Continuum, 1992, 5 (2), criticizes--correctly, I think--Gledhill for her reductive construction of noir. This being said, Caputo offers only a few words on Klute itself. There are a few essays on Klute as well in an early issue (Fall 1972) of Velvet Light Trap, but again, they look to be (I have not read them yet) of the same character. 

How is this useful to me? Is there something in the power of Klute to attract debates that may provide a good launching off point? 

My rough idea so far is to argue that Klute, and the other three films in the paranoia trilogy, offer a mediation on figure and ground. For American cinema, it might be said, a crisis of figure and ground was initiated by the dissolution of the Classical Hollywood model -- a model which prescribed cinematic conditions for relations between people and space and therefore, for the legibility of mise-en-scene and movement within it. If this is all thrown into flux so is, for example, the image of the woman. No longer is there a definable and institutionalized visual system within which woman is constituted (say, following Mulvey) within a visual field. But the dissolution of Classical Hollywood visual conventions creates a vaccuum. How then is a narrative film constructed? How does narration take place? One could say, as Gledhill does, that Klute assimilates a "European" tradition. But, as Caputo basically asks, what does that even mean? I would argue that the film more likely partially adopts a documentary style, but that we should also ask what is it we are seeing? None of the critics I have read so far (on Klute, or anything else) have considered the problem of a  noir IN COLOR. Darkness is as much a part of Klute, but so is a rich color palette. Instead of the familiar alternation between light and dark creating (perhaps following Gunning on Naked city, He Walked by Night, and the city that never sleeps) is an alternation between figure and ground. Between what we distinguish as a scene and what we read as a figure moving through a scene (i.e. a figure against a background). 

The Klute DVD has a great contemporaneous behind-the-scenes documentary included in the special features entitled "Klute: A Background for Suspense" with great quotes from Pakula and Willis (also Sutherland and Fonda).

Parts of Klute were also filmed at Filmways Studios in Harlem (possibly 245 E 127 St) where the Godfather was also filmed. It would be interesting to find out what else from my list was shot here, as I'm sure imdb info on this is incomplete.

Also found an article from New York Magazine, March 16, 1992 (pp42-?) that has some things about Sonny Grosso's film and television work.