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 5
... adaptation of Double Indemnity was Incendiary Blonde . ) Lakoff is a powerful critic of the Aris- totelian notion that categories are made up of items with common properties — a notion also rejected by empirical research and by such di ...
... adaptation of Double Indemnity was Incendiary Blonde . ) Lakoff is a powerful critic of the Aris- totelian notion that categories are made up of items with common properties — a notion also rejected by empirical research and by such di ...
Página 12
... adaptation of J'irai cracher, a project he disliked but had been un- able to prevent. As he sat alone in the dark auditorium, his heart failed and he died.6 The themes and motifs of Vian's life and work—indigo moods, smoky jazz clubs ...
... adaptation of J'irai cracher, a project he disliked but had been un- able to prevent. As he sat alone in the dark auditorium, his heart failed and he died.6 The themes and motifs of Vian's life and work—indigo moods, smoky jazz clubs ...
Página 13
... adaptation of J'irai cracher interest me for historical reasons, because they coincide with what I shall call the first (or historical) age of American film noir: the period between the post- war arrival of Hollywood movies in Paris and ...
... adaptation of J'irai cracher interest me for historical reasons, because they coincide with what I shall call the first (or historical) age of American film noir: the period between the post- war arrival of Hollywood movies in Paris and ...
Página 17
... adaptation of William Saroyan's Hu- man Comedy (6 August 1944), and Manny Farber, writing in The New Republic, compared it with Preston Sturges's Miracle of Morgan's Creek (24 August 1944). French writers, in contrast, were fascinated ...
... adaptation of William Saroyan's Hu- man Comedy (6 August 1944), and Manny Farber, writing in The New Republic, compared it with Preston Sturges's Miracle of Morgan's Creek (24 August 1944). French writers, in contrast, were fascinated ...
Página 20
... adaptation of Ernest Hemingway) or a sadistic ritual: in The High Wall, a publisher of religious books murders an elevator repairman by hooking an umbrella under the stool on which the man is standing, send- ing him plummeting down an ...
... adaptation of Ernest Hemingway) or a sadistic ritual: in The High Wall, a publisher of religious books murders an elevator repairman by hooking an umbrella under the stool on which the man is standing, send- ing him plummeting down an ...
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