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 58
Página ix
... 81 3. From Dark Films to Black Lists: Censorship and Politics Bourbon with a Bourbon Chaser / 107 The Snakes Are Loose / 114 After 1947 / 123 xi xv xvii 1 9 40 96 4. Low Is High: Budgets and Critical Discrimination B Pictures CONTENTS.
... 81 3. From Dark Films to Black Lists: Censorship and Politics Bourbon with a Bourbon Chaser / 107 The Snakes Are Loose / 114 After 1947 / 123 xi xv xvii 1 9 40 96 4. Low Is High: Budgets and Critical Discrimination B Pictures CONTENTS.
Página 7
... censorship and political repression by using dark thrillers for critical ends. The remaining parts of the book are increasingly devoted to the rela- tionship between historical film noir and the present-day cinema. In chap- ter 4, I ...
... censorship and political repression by using dark thrillers for critical ends. The remaining parts of the book are increasingly devoted to the rela- tionship between historical film noir and the present-day cinema. In chap- ter 4, I ...
Página 12
... censorship.7 In regard to the second issue, we need to exam- ine the metaphor of darkness. The discourse on noir grew out of a Eu- ropean male fascination with the instinctive (a fascination that was evident in most forms of high ...
... censorship.7 In regard to the second issue, we need to exam- ine the metaphor of darkness. The discourse on noir grew out of a Eu- ropean male fascination with the instinctive (a fascination that was evident in most forms of high ...
Página 32
... censorship and Hollywood production methods , and by teaching at such institutions as New York University and Columbia — a kind of American new wave be- gan to appear . Self - conscious auteurs such as Peter Bogdanovich , Mar- tin ...
... censorship and Hollywood production methods , and by teaching at such institutions as New York University and Columbia — a kind of American new wave be- gan to appear . Self - conscious auteurs such as Peter Bogdanovich , Mar- tin ...
Página 38
... censorship of movies since the end of World War II ; the " New Hollywood " of the 1970s ; the rise of academic film theory ; and the increasing dissolution of boundaries between high , vernacular , and commercial art . Today , the ...
... censorship of movies since the end of World War II ; the " New Hollywood " of the 1970s ; the rise of academic film theory ; and the increasing dissolution of boundaries between high , vernacular , and commercial art . Today , the ...
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