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 7
... 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 darkness in the term film noir, arguing that one ...
... 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 darkness in the term film noir, arguing that one ...
Página 21
... color, and biblical epics; at the same time, many of the key writers and directors of the previous decade had been black- listed by the major studios. As if to signal the end of a cycle, urban thrillers were increasingly produced for ...
... color, and biblical epics; at the same time, many of the key writers and directors of the previous decade had been black- listed by the major studios. As if to signal the end of a cycle, urban thrillers were increasingly produced for ...
Página 36
... what Schrader regards as the definitive motifs of film noir into a kind of neo- expressionism that is ideally suited to color and wide screens . Perhaps FILM : NOIR Something filmy , see - through and. 36 The History of an Idea.
... what Schrader regards as the definitive motifs of film noir into a kind of neo- expressionism that is ideally suited to color and wide screens . Perhaps FILM : NOIR Something filmy , see - through and. 36 The History of an Idea.
Página 67
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Página 69
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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