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 3
... violent cop who learns that his wife once had an abortion), The Asphalt Jungle (a blow-by-blow account of an attempted robbery, in which the criminals are the most sympathetic characters), and Ruthless (a rise-to-success narrative that ...
... violent cop who learns that his wife once had an abortion), The Asphalt Jungle (a blow-by-blow account of an attempted robbery, in which the criminals are the most sympathetic characters), and Ruthless (a rise-to-success narrative that ...
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... violence against whites. But there were also problems in France, where J'irai cracher became the first novel to be prosecuted for obscenity since Madame Bovary.The case took a bizarre turn when a middle-aged Parisian salesman strangled ...
... violence against whites. But there were also problems in France, where J'irai cracher became the first novel to be prosecuted for obscenity since Madame Bovary.The case took a bizarre turn when a middle-aged Parisian salesman strangled ...
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... violent death " ( 8 ) ; unlike earlier practitioners , however , the Americans were more concerned with " criminal psychology " and were therefore making “ criminal adventures ” or " films noirs " " ( 14 ) . Such films were convoluted ...
... violent death " ( 8 ) ; unlike earlier practitioners , however , the Americans were more concerned with " criminal psychology " and were therefore making “ criminal adventures ” or " films noirs " " ( 14 ) . Such films were convoluted ...
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... violent death , " is replete with surrealist values . From their beginnings in the years after World War I , the surrealists used cinema as an instrument for the destruction of bourgeois art and the desublimation of everyday life ...
... violent death , " is replete with surrealist values . From their beginnings in the years after World War I , the surrealists used cinema as an instrument for the destruction of bourgeois art and the desublimation of everyday life ...
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... violence” (10).28 Her best representative on the screen, Borde and Chaumeton argue, is Glo- ria Grahame, who, even though she was seldom cast as a femme fatale, always suggested “cold calculation and sensuality” (125). Above all, Borde ...
... violence” (10).28 Her best representative on the screen, Borde and Chaumeton argue, is Glo- ria Grahame, who, even though she was seldom cast as a femme fatale, always suggested “cold calculation and sensuality” (125). Above all, Borde ...
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