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. |
De dentro do livro
Resultados 1-5 de 34
Página 4
... Chaumeton's Panorama du film noir américain. Per- haps Aldrich was trying to tell us something about his work—or per- haps he was merely acknowledging the fact that Borde and Chaumeton greatly admired his previous picture, Kiss Me ...
... Chaumeton's Panorama du film noir américain. Per- haps Aldrich was trying to tell us something about his work—or per- haps he was merely acknowledging the fact that Borde and Chaumeton greatly admired his previous picture, Kiss Me ...
Página 18
... They were also given important study in a book that was profoundly surrealist in its ideological aims : Raymond Borde and Éti- enne Chaumeton's Panorama du film noir américain (1955), which has 18 The History of an Idea.
... They were also given important study in a book that was profoundly surrealist in its ideological aims : Raymond Borde and Éti- enne Chaumeton's Panorama du film noir américain (1955), which has 18 The History of an Idea.
Página 19
... Chaumeton choose a phrase from Lautréamont, the surreal- ist's favorite poet, as an epigraph: “The bloody channels through which one pushes logic to the breaking point.” Despite their obvious ideological purpose, Borde and Chaumeton of ...
... Chaumeton choose a phrase from Lautréamont, the surreal- ist's favorite poet, as an epigraph: “The bloody channels through which one pushes logic to the breaking point.” Despite their obvious ideological purpose, Borde and Chaumeton of ...
Página 20
... Chaumeton insist, not only take place “in- side the criminal milieu,” but also represent “the point of view of crim- inals” (7). Such films are “moral” in an approximately surrealist sense: instead of incorruptible legal agents, they ...
... Chaumeton insist, not only take place “in- side the criminal milieu,” but also represent “the point of view of crim- inals” (7). Such films are “moral” in an approximately surrealist sense: instead of incorruptible legal agents, they ...
Página 21
... Chaumeton remark, “there is the feeling of a dream” (12). Indeed, the narratives themselves are of- ten situated on the margins of dreams, as if to intensify the surrealist atmo- sphere of violent confusion, ambiguity, or disequilibrium ...
... Chaumeton remark, “there is the feeling of a dream” (12). Indeed, the narratives themselves are of- ten situated on the margins of dreams, as if to intensify the surrealist atmo- sphere of violent confusion, ambiguity, or disequilibrium ...
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