More than Night: Film Noir in Its ContextsUniversity of California Press, 14 de jan. de 2008 - 408 páginas "Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s—melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century. |
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Página xi
... 19-20 . Alan Ladd and Will Wright in the revised ending of The Blue Dahlia II2 Fig . 21 . Paul Kelly in Crossfire 120 Fig . 22 . Robert Ryan in Crossfire 121 Fig . 23 . The death of Dix Handley in xi LIST OF ILLUSTRATIONS.
... 19-20 . Alan Ladd and Will Wright in the revised ending of The Blue Dahlia II2 Fig . 21 . Paul Kelly in Crossfire 120 Fig . 22 . Robert Ryan in Crossfire 121 Fig . 23 . The death of Dix Handley in xi LIST OF ILLUSTRATIONS.
Página xii
... Blue Dress 251 Fig . 63 . Fig . 64 . Noir remade : Steven Soderbergh's Underneath Art film or neo - noir ? Billy Bob Thornton 269 in Sling Blade 271 Fig . 65. Noir as a dream : Patricia Arquette in Lost Highway 273 Fig . 66 . Figs . 67 ...
... Blue Dress 251 Fig . 63 . Fig . 64 . Noir remade : Steven Soderbergh's Underneath Art film or neo - noir ? Billy Bob Thornton 269 in Sling Blade 271 Fig . 65. Noir as a dream : Patricia Arquette in Lost Highway 273 Fig . 66 . Figs . 67 ...
Página 31
... Blue Angel , King Kong , Shadows , The Man with a Golden Arm , and 2001 . Like Borde and Chaumeton , Durgnat identifies noir with gangsters , cops , criminal adventure , love on the run , bourgeois murder , fatal pas- sion , sexual ...
... Blue Angel , King Kong , Shadows , The Man with a Golden Arm , and 2001 . Like Borde and Chaumeton , Durgnat identifies noir with gangsters , cops , criminal adventure , love on the run , bourgeois murder , fatal pas- sion , sexual ...
Página 67
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Página 107
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Conteúdo
1 | |
9 | |
40 | |
CENSORSHIP AND POLITICS | 96 |
BUDGETS AND CRITICAL DISCRIMINATION | 136 |
STYLES OF NOIR | 167 |
6 THE OTHER SIDE OF THE STREET | 220 |
7 THE NOIR MEDIASCAPE | 254 |
8 NOIR IN THE TWENTYFIRST CENTURY | 278 |
NOTES | 311 |
BIBLIOGRAPHY | 343 |
INDEX | 355 |
Film and Broadcast Index | 379 |
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adaptation American film noir Angeles argues artistic Asphalt Jungle audience become black and white black-and-white Blue Dahlia Bogart Breen Office camera censorship characters Chaumeton Chinatown cinema cited parenthetically City classic color comic contemporary create crime criminal critical Crossfire culture dark Dashiell Hammett decade depicted described detective director discussion Double Indemnity dream essay example figure film noir filmmakers French gangster genre Greene hard-boiled Hereafter Hollywood images James John killer Kiss Me Deadly Lady from Shanghai light look low-budget male Maltese Falcon Marlowe melodrama modernist motifs Mulholland Dr murder narration narrative neo-noir never night noirlike novel offscreen Orson parody photographed played police political postmodern private eye production protagonist Pulp Fiction quoted Raymond Chandler remarks Robert scene screenplay script seems sexual shot social stars story streets studio style surrealist theaters theme thrillers tion University Press violence woman writers York