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 ix
... Modernism and Blood Melodrama: Three Case Studies Believing in Nothing / 48 Sympathy for the Devil / 63 The Death Chamber / 81 3. From Dark Films to Black Lists: Censorship and Politics Bourbon with a Bourbon Chaser / 107 The Snakes Are ...
... Modernism and Blood Melodrama: Three Case Studies Believing in Nothing / 48 Sympathy for the Devil / 63 The Death Chamber / 81 3. From Dark Films to Black Lists: Censorship and Politics Bourbon with a Bourbon Chaser / 107 The Snakes Are ...
Página 7
... modernism into the American culture industry as a whole. Chapter 3 deals with the related problem of noir's so-called re- sistance to Hollywood norms. Although I claim that film noir as a whole has no essential politics, in this chapter ...
... modernism into the American culture industry as a whole. Chapter 3 deals with the related problem of noir's so-called re- sistance to Hollywood norms. Although I claim that film noir as a whole has no essential politics, in this chapter ...
Página 12
... - 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 modernism), and many of the 12 The History of an Idea.
... - 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 modernism), and many of the 12 The History of an Idea.
Página 13
Film Noir in Its Contexts James Naremore. dent in most forms of high modernism), and many of the films admired by the French involve white characters who cross borders to visit Latin America, Chinatown, or the “wrong” parts of the city ...
Film Noir in Its Contexts James Naremore. dent in most forms of high modernism), and many of the films admired by the French involve white characters who cross borders to visit Latin America, Chinatown, or the “wrong” parts of the city ...
Página 15
... modernism - became the most important category in French criticism . The French were also predisposed to invent American noir because it evoked a golden age of their own cinema . They were quick to observe that the new Hollywood ...
... modernism - became the most important category in French criticism . The French were also predisposed to invent American noir because it evoked a golden age of their own cinema . They were quick to observe that the new Hollywood ...
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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