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 xii
... Chinatown 199 209 Figs . 55-56 . " Dream Sequence " from Moonlighting 213 Fig . 57 . Retro killers in Pulp Fiction 217 Fig . 58 . Theresa Harris and Caleb Peterson in Out of the Past 240 Fig . 59. The private eye as " White Negro " in ...
... Chinatown 199 209 Figs . 55-56 . " Dream Sequence " from Moonlighting 213 Fig . 57 . Retro killers in Pulp Fiction 217 Fig . 58 . Theresa Harris and Caleb Peterson in Out of the Past 240 Fig . 59. The private eye as " White Negro " in ...
Página 13
... Chinatown, or the “wrong” parts of the city. When the idea of noir was imported to America, this implication was somewhat obscured; the term sounded more artistic in French, so it was seldom translated as “black cinema.”8 I say more ...
... Chinatown, or the “wrong” parts of the city. When the idea of noir was imported to America, this implication was somewhat obscured; the term sounded more artistic in French, so it was seldom translated as “black cinema.”8 I say more ...
Página 36
... Chinatown ( 1974 ) , and Body Heat ( 1981 ) —which were made with a nostalgic idea of film noir in mind . However , despite its al- lusiveness and almost scholarly self - awareness , it is neither a period movie nor a pastiche . Instead ...
... Chinatown ( 1974 ) , and Body Heat ( 1981 ) —which were made with a nostalgic idea of film noir in mind . However , despite its al- lusiveness and almost scholarly self - awareness , it is neither a period movie nor a pastiche . Instead ...
Página 209
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Página 210
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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