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 xviii
... production. Finally, as always, I owe thanks to Darlene J. Sadlier, who gave me moral support, companionship, and intelligent criticism, and who en- dured the whole process with remarkable grace—in part, no doubt, be- cause she likes ...
... production. Finally, as always, I owe thanks to Darlene J. Sadlier, who gave me moral support, companionship, and intelligent criticism, and who en- dured the whole process with remarkable grace—in part, no doubt, be- cause she likes ...
Página 7
... productions, designed to cross over into respectable areas of the market during a period when the B movie itself was dying off. I nevertheless try to illustrate the charms of specific B movies and to show how a tradition of low-budget ...
... productions, designed to cross over into respectable areas of the market during a period when the B movie itself was dying off. I nevertheless try to illustrate the charms of specific B movies and to show how a tradition of low-budget ...
Página 10
... productions as Twin Peaks, Wild Palms (marketed as “TV noir”), and Fallen Angels. Some of these instances might be described as pastiche, but pastiche of what? The classical model is notoriously difficult to pin down, in part because it ...
... productions as Twin Peaks, Wild Palms (marketed as “TV noir”), and Fallen Angels. Some of these instances might be described as pastiche, but pastiche of what? The classical model is notoriously difficult to pin down, in part because it ...
Página 13
... production of The Postman Always Rings Twice was mentioned along- side the initial group of five, and Citizen Kane,which was also mentioned, was placed in a class by itself. Critical discussion centered mainly on the first four ...
... production of The Postman Always Rings Twice was mentioned along- side the initial group of five, and Citizen Kane,which was also mentioned, was placed in a class by itself. Critical discussion centered mainly on the first four ...
Página 27
... production values to bestow a kind of glamour upon the dark emotional moods favored by Continental artists of the postwar decade . For the French especially , an American star like Bogart epitomized these moods . Bogart's persona was ...
... production values to bestow a kind of glamour upon the dark emotional moods favored by Continental artists of the postwar decade . For the French especially , an American star like Bogart epitomized these moods . Bogart's persona was ...
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