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 4
... Hollywood studios were completely re- organized, before a wave of innovative European cinema began to enter the ... Hollywood in the 1940s. I never- theless discuss European and British pictures that influenced Hollywood, and I pay a ...
... Hollywood studios were completely re- organized, before a wave of innovative European cinema began to enter the ... Hollywood in the 1940s. I never- theless discuss European and British pictures that influenced Hollywood, and I pay a ...
Página 5
... Hollywood and that my later ones are increasingly con- cerned with the present day . Even so , the book is not strictly chrono- logical , and ( somewhat like the old Hollywood moguls ) I do not expect that everyone will consume what I ...
... Hollywood and that my later ones are increasingly con- cerned with the present day . Even so , the book is not strictly chrono- logical , and ( somewhat like the old Hollywood moguls ) I do not expect that everyone will consume what I ...
Página 7
... Hollywood norms. Although I claim that film noir as a whole has no essential politics, in this chapter I concentrate on a specific set of noirlike movies from the years immediately after World War II and show how a political movement or ...
... Hollywood norms. Although I claim that film noir as a whole has no essential politics, in this chapter I concentrate on a specific set of noirlike movies from the years immediately after World War II and show how a political movement or ...
Página 13
... Hollywood movies in Paris and the beginnings of the French New Wave. We can never know when the first film noir was made (examples have been claimed as far back as D. W. Griffith's Muscateers of Pig Alley [1912] and Louis Feuillade's ...
... Hollywood movies in Paris and the beginnings of the French New Wave. We can never know when the first film noir was made (examples have been claimed as far back as D. W. Griffith's Muscateers of Pig Alley [1912] and Louis Feuillade's ...
Página 15
... Hollywood genre movies.11 A nou- velle vague would eventually grow out of this dialectic between Amer- ica and Europe , and the so - called film noir - which was visibly indebted to European modernism - became the most important ...
... Hollywood genre movies.11 A nou- velle vague would eventually grow out of this dialectic between Amer- ica and Europe , and the so - called film noir - which was visibly indebted to European modernism - became the most important ...
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