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 xv
... remain deeply satisfying exercises in style and storytelling. Such films are the truest kind of noir, and fortunately we have access to increasing numbers of them on cable TV and DVD. I've listed xv PREFACE TO THE 2008 EDITION.
... remain deeply satisfying exercises in style and storytelling. Such films are the truest kind of noir, and fortunately we have access to increasing numbers of them on cable TV and DVD. I've listed xv PREFACE TO THE 2008 EDITION.
Página 2
... style. We might say, in fact, that film noir has become one of the domi- nant intellectual categories of the late twentieth century, operating across the entire cultural arena of art, popular memory, and criticism. In the following book ...
... style. We might say, in fact, that film noir has become one of the domi- nant intellectual categories of the late twentieth century, operating across the entire cultural arena of art, popular memory, and criticism. In the following book ...
Página 6
... style. Like all critical terminology, it tends to be reductive, and it sometimes works on behalf of unstated agendas. For these reasons, and because its meaning changes over time, it ought to be examined as a discursive construct. It ...
... style. Like all critical terminology, it tends to be reductive, and it sometimes works on behalf of unstated agendas. For these reasons, and because its meaning changes over time, it ought to be examined as a discursive construct. It ...
Página 7
... style, but I do not attempt to dis- cuss this theme in a comprehensive way. Such a task would probably be impossible; as I indicate early in the chapter, there has never been a single noir style—only a complicated series of unrelated ...
... style, but I do not attempt to dis- cuss this theme in a comprehensive way. Such a task would probably be impossible; as I indicate early in the chapter, there has never been a single noir style—only a complicated series of unrelated ...
Página 9
... style , or simply a “ phe- " 1 and ends in the present, listing over five hundred motion. nomenon . Whatever noir “ is , " the standard histories say that it originated in America , emerging out of a synthesis of hard - boiled fiction ...
... style , or simply a “ phe- " 1 and ends in the present, listing over five hundred motion. nomenon . Whatever noir “ is , " the standard histories say that it originated in America , emerging out of a synthesis of hard - boiled fiction ...
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