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 1
... cinema age " ( it should be recognized that this age exists in life - and that it passes ) I never began by consulting the amusement pages to find out what film might chance to be the best , nor did I find out the time the film was to ...
... cinema age " ( it should be recognized that this age exists in life - and that it passes ) I never began by consulting the amusement pages to find out what film might chance to be the best , nor did I find out the time the film was to ...
Página 4
... cinema age.” But it was not completely un- known. In a recent anthology of writings on the subject, Alain Silver and James Ursini have published a 1956 photograph of director Robert Aldrich, standing on the set of Attack! and holding a ...
... cinema age.” But it was not completely un- known. In a recent anthology of writings on the subject, Alain Silver and James Ursini have published a 1956 photograph of director Robert Aldrich, standing on the set of Attack! and holding a ...
Página 7
... cinema. In chap- ter 4, I discuss the economic determinants of Hollywood movies and the widespread critical tendency to canonize certain types of B pictures. I ar- gue that many classics of so-called low-budget film noir were actually ...
... cinema. In chap- ter 4, I discuss the economic determinants of Hollywood movies and the widespread critical tendency to canonize certain types of B pictures. I ar- gue that many classics of so-called low-budget film noir were actually ...
Página 11
... cinema; in other words, it has less to do with a group of artifacts than with a discourse—a loose, evolving system of arguments and readings that helps to shape commercial strategies and aesthetic ideologies. It seems odd that film ...
... cinema; in other words, it has less to do with a group of artifacts than with a discourse—a loose, evolving system of arguments and readings that helps to shape commercial strategies and aesthetic ideologies. It seems odd that film ...
Página 13
... cinema.”8 I say more about such matters in subsequent chapters; for now, how- ever, the publication and eventual ... cine- clubs” where movies were treated as art rather than as commercial entertainment.10 Equally important, the decade ...
... cinema.”8 I say more about such matters in subsequent chapters; for now, how- ever, the publication and eventual ... cine- clubs” where movies were treated as art rather than as commercial entertainment.10 Equally important, the decade ...
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