Film Noir ReaderFilm Noir Reader



Interviewees include Billy Wilder (Double Indemnity and Sunset Boulevard), Otto Preminger (Laura), Joseph Lewis (Gun Crazy and The Big Combo), Curtis Bernhardt (Possessed and A Stolen Life), Edward Dmytryk (Murder, My Sweet and Crossfire), ...

Author: Alain Ursini

Publisher: Hal Leonard Corporation

ISBN: UOM:39015054384675

Category:

Page: 343

View: 478

Interviewees include Billy Wilder (Double Indemnity and Sunset Boulevard), Otto Preminger (Laura), Joseph Lewis (Gun Crazy and The Big Combo), Curtis Bernhardt (Possessed and A Stolen Life), Edward Dmytryk (Murder, My Sweet and Crossfire), and Fritz Lang (Scarlet Street and The Woman in the Window).

Film Noir Reader 4Film Noir Reader 4



This text identifies a handful of plot elements that consistently recur within film noir and analyses in depth the memorable pictures that, while being vivid prototypes of certain cinematics themes, bend and break their moulds to find new ...

Author: Alain Silver

Publisher: Hal Leonard Corporation

ISBN: UCSC:32106018019619

Category:

Page: 326

View: 413

This text identifies a handful of plot elements that consistently recur within film noir and analyses in depth the memorable pictures that, while being vivid prototypes of certain cinematics themes, bend and break their moulds to find new ways to enthral and frighten us.

Film Noir CompendiumFilm Noir Compendium



FILM NOIR COMPENDIUM: KEY SELECTIONS FROM THE FILM NOIR READER SERIES

Author: Alain Silver

Publisher: Applause Theatre and Cinema Books

ISBN: 1495058980

Category:

Page: 441

View: 601

(Limelight). In this essential study of film noir, editors Alain Silver and James Ursini select the most significant and influential articles on the movement from their highly respected Film Noir Reader series and assemble them into a single, convenient, heavily illustrated volume. Still included, of course, are many rare early articles and such seminal essays as Borde and Chaumeton's "Towards a Definition of Film Noir" from Panorama du Film Noir Americain , Paul Schrader's "Notes on Film Noir," and "Paint It Black: the Family Tree of the Film Noir" by Raymond Durgnat. With newer studies such as "Lounge Time" by Vivian Sobchack, "Manufacturing Heroines in Classic Noir Films" by Sheri Chinen Biesen, and "Voices from the Deep: Film Noir as Psychodrama" J. P. Telotte, this collection of over 30 articles probes this most influential American film movement from varying angles: formalist, feminist, structuralist, sociological, and stylistic; narrative-thematic historical, and even from the point of view of a pure aficionado. There is something in this volume for every student or devotee of film noir. Plus like the readers that have proven an invaluable tool for academics planning a syllabus, it can serve as the most complete core text for any of the myriad of film noir courses taught throughout the world.

Film NoirFilm Noir



Beginning with a general overview of film noir and covering its most important themes chapter by chapter (lovers plan murder, corrupt police, doomed love, psychological noir, and more), this illustrated handbook provides access to the film ...

Author: Alain Silver

Publisher: Taschen America Llc

ISBN: 3836534622

Category:

Page: 191

View: 751

Beginning with a general overview of film noir and covering its most important themes chapter by chapter (lovers plan murder, corrupt police, doomed love, psychological noir, and more), this illustrated handbook provides access to the film noir genre for amateurs and aficionados alike.

The Philosophy of Film NoirThe Philosophy of Film Noir



I merely want to provide the reader with the flavor of the discussion and point out some of the definitions provided in some of the canonical works on noir . 6. According to Wes D. Gehring , a genre in film studies " represents the ...

Author: Mark T. Conard

Publisher: University Press of Kentucky

ISBN: 0813191815

Category:

Page: 248

View: 572

From The Maltese Falcon (1941) to Touch of Evil (1958), the classic film noir is easily recognizable for its unusual lighting, sinister plots, and feeling of paranoia. For critics and fans alike, these films defined an era. The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School. The authors, each focusing on a different aspect of the genre, explore the philosophical underpinnings of classic films such as The Big Sleep (1946), Out of the Past (1947), and Pulp Fiction (1994). They show how existentialism and nihilism dominate the genre as they explore profound themes in a vital area of popular culture.

The Philosophy of Film NoirThe Philosophy of Film Noir



Explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School.

Author: Mark T. Conard

Publisher: University Press of Kentucky

ISBN: 9780813123776

Category:

Page: 248

View: 532

Explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School. The authors, each focusing on a different aspect of the genre, explores the philosophical underpinnings of classic films.

What is Film Noir What is Film Noir



What is Film Noir? surveys the various theories of film noir, defines film noir, and explains how the genre relates to the style and the period in which noir was created.

Author: William Park

Publisher: Bucknell University Press

ISBN: 9781611483635

Category:

Page: 213

View: 749

What is Film Noir? surveys the various theories of film noir, defines film noir, and explains how the genre relates to the style and the period in which noir was created. It also provides a very useful theory of genre and how it relates to film study.

Historical Dictionary of Film NoirHistorical Dictionary of Film Noir



Pp. 181–96 in Transnational Cinema: The Film Reader, edited by Elizabeth Ezra and Terry Rowden. London: Routledge, 2006. Porfirio, Robert. “Whatever Happened to the Film Noir? The Postman Always Rings Twice (1946–1981).

Author: Andrew Spicer

Publisher: Scarecrow Press

ISBN: 0810873788

Category:

Page: 532

View: 533

The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon.

Film Noir Reader 3Film Noir Reader 3



Film Noir : An Encyclopedic Reference to the American Style , Co - Editor Film Noir Reader , Contributor Film Noir Reader 2 , Contributor The Noir Style , Contributor Also by Alain Silver David Lean and His Films The Vampire Film The ...

Author: Alain Silver

Publisher: Hal Leonard Corporation

ISBN: 0879109610

Category:

Page: 239

View: 697

(Limelight). Departing from the approach of its Film Noir Reader predecessors, this third volume in the series assembles a collection of interviews with film noir directors and a cinematographer, few of whom are alive today. Interviewees include Billy Wilder ( Double Indemnity and Sunset Boulevard ), Otto Preminger ( Laura ), Joseph Lewis ( Gun Crazy and The Big Combo ), Curtis Bernhardt ( Possessed and A Stolen Life ), Edward Dmytryk ( Murder, My Sweet and Crossfire ), and Fritz Lang ( Scarlet Street and The Woman in the Window ).

The Philosophy of TV NoirThe Philosophy of TV Noir



The Philosophy of Film Noir (Lexington: University Press of Kentucky, 2006) and The Philosophy of Neo-Noir ... See Robert Porfirio, “No Way Out: Existential Motifs in the Film Noir,” in Silver and Ursini, Film Noir Reader, 78. 3.

Author: Steven Sanders

Publisher: University Press of Kentucky

ISBN: 9780813181561

Category:

Page: 288

View: 795

Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right.

L A NoirL A Noir



The book features dozens of noir and neo-noir landmark films from Double Indemnity, Criss Cross, Sunset Boulevard, Gun Crazy, The Big Heat, Kiss Me Deadly, and Touch of Evil in the classic period (1940-1960) to such neo-noir notables as ...

Author: Alain Silver

Publisher: Santa Monica Press

ISBN: 9781595809827

Category:

Page: 176

View: 788

Los Angeles has always been as much a star in film noir as any actor, be it Humphrey Bogart, Barbara Stanwyck, Burt Lancaster, Ava Gardner or Jack Nicholson. In L.A. Noir: The City as Character renowned film historians Alain Silver and James Ursini explore the world of noir cinema in the context of Los Angeles. The book features dozens of noir and neo-noir landmark films from Double Indemnity, Criss Cross, Sunset Boulevard, Gun Crazy, The Big Heat, Kiss Me Deadly, and Touch of Evil in the classic period (1940-1960) to such neo-noir notables as Chinatown, L.A. Confidential, Mulholland Drive, and Pulp Fiction. L.A. Noir illustrates how these noir films use L.A.'s diverse cityscape and architecture to convey a unique vision of urban corruption and existential fatalism, not only in the ever-changing, chaotic downtown of Bunker Hill, Main Street, and Chinatown, but in its affluent coastal communities (Santa Monica, Malibu) as well as its deceptively sunny suburbs (South Bay, San Fernando Valley). The authors deftly analyze the key films of noir while integrating them into the geography and history of this "dark city" which became such an important icon of noir literature and film. L.A. Noir is profusely illustrated with approximately 150 photographs-many of them appearing in print for the very first time-including production stills from the movies discussed, archival photos of the locations from the films and new photographs of the locations today, chronicling the ever-changing cityscape of this noir character-Los Angeles.

Shades of NoirShades of Noir



While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look.

Author: Joan Copjec

Publisher: Verso

ISBN: 0860914607

Category:

Page: 300

View: 913

For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir. Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look—of the 'poujadist' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection—Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart, and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.

What Is Film Noir What Is Film Noir



In Film Noir Reader, 6th edition, edited by Alain Silver and James Ursini. New York: Limelight Editions, 2000 [1972]. Scott, A. O. “Review of The Last Station.” New York Times. December 4, 2009, C19. Shadoian, Jack.

Author: William Park

Publisher: Rowman & Littlefield

ISBN: 9781611483628

Category:

Page: 213

View: 631

What Is Film Noir? surveys the various theories of film noir, defines film noir, and explains how the genre relates to the style and the period in which noir was created. It also provides a very useful theory of genre and how it relates to film study.

Film Genre Reader IVFilm Genre Reader IV



Ray, Robert B. A Certain Tendency of the Hollywood Cinema, 1930–1980. Princeton: Princeton University Press, 1985. Rich, Nathaniel. San Francisco Noir: The City in Film Noir from 1940 to the Present. New York: The Little Backroom, 2005.

Author: Barry Keith Grant

Publisher: University of Texas Press

ISBN: 9780292745742

Category:

Page: 784

View: 424

From reviews of the third edition: "Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology's consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview." —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film's most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.