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 72
Página x
... Black and White and Red / 169 Parody, Pastiche, Fashion / 196 136 167 6. The Other Side of the Street 220 Asia / 225 Latin America / 229 Africa / 233 7. The Noir Mediascape 254 8. Noir in the Twenty-first Century 278 Legends and Lists ...
... Black and White and Red / 169 Parody, Pastiche, Fashion / 196 136 167 6. The Other Side of the Street 220 Asia / 225 Latin America / 229 Africa / 233 7. The Noir Mediascape 254 8. Noir in the Twenty-first Century 278 Legends and Lists ...
Página 3
... black-and-white photography and melodramatic danger. This was the age of Elvis and Cinemascope, but I was stunned by Killer's Kiss, a cheap thriller about which I had heard nothing. (I can recall exiting the theater and searching the ...
... black-and-white photography and melodramatic danger. This was the age of Elvis and Cinemascope, but I was stunned by Killer's Kiss, a cheap thriller about which I had heard nothing. (I can recall exiting the theater and searching the ...
Página 7
... black and white to an industry dominated by color; and second, the increasing role played by parody, pastiche, and fashion in the development of a self-consciously postmodern genre. In chapter 6, I discuss the central metaphor of ...
... black and white to an industry dominated by color; and second, the increasing role played by parody, pastiche, and fashion in the development of a self-consciously postmodern genre. In chapter 6, I discuss the central metaphor of ...
Página 12
... black man who passes for white in a southern town and ex- erts racial vengeance by dominating, raping, and murdering two white women. In a preface, Vian said that the book could never have been printed in the United States because it ...
... black man who passes for white in a southern town and ex- erts racial vengeance by dominating, raping, and murdering two white women. In a preface, Vian said that the book could never have been printed in the United States because it ...
Página 13
... white characters who cross borders to visit Latin America, Chinatown, or the “wrong” parts of the city. When the ... black cinema.”8 I say more about such matters in subsequent chapters; for now, how- ever, the publication and eventual ...
... white characters who cross borders to visit Latin America, Chinatown, or the “wrong” parts of the city. When the ... black cinema.”8 I say more about such matters in subsequent chapters; for now, how- ever, the publication and eventual ...
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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Termos e frases comuns
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