Download A Companion to Film Noir by Helen Hanson, Andrew Spicer PDF

By Helen Hanson, Andrew Spicer

An authoritative better half that gives a wide-ranging thematic survey of this enduringly well known cultural shape and contains scholarship from either proven and rising students in addition to research of movie noir's impression on different media together with tv and picture novels.• Covers a wealth of latest methods to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• positive factors chapters exploring the broader ‘noir mediascape’ of tv, photograph novels and radio
• displays the old and geographical achieve of movie noir, from the Nineteen Twenties to the current and in quite a few nationwide cinemas
• comprises contributions from either validated and rising scholars

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Extra info for A Companion to Film Noir

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By my reckoning Odds Against Tomorrow was one of the last entries in the cycle and a fitting epitaph. Sociocultural Trauma This third and final criterion of film movements appears to be the most obvious. Film historians are quick to point out that because the Depression, World War II, and the Red Scare paralleled the rise and fall of film noir in chronological order they must have had a good deal to do with its ascent and descent. Yet one must be wary of such a facile explanation. For one thing, the majority of the Depression took place in the 1930s, the decade in which “Hollywood” became a global system, the major commercial genres were established, and Americans flocked to the picture palaces as a means of escape from the harsh realities of life.

For once the defining “marks” of a particular cultural practice are recognized and deemed marketable there is the inevitable rush to popularize and peddle as practice becomes product, and art movements are certainly no exception (surrealism being a prime example). ) were established as “Hollywood” became a global system and sought to capture and hold domestic and international markets alike through the use of formulaic practices. If anything, classic film noir represents an attempt to break with those formulaic practices as Borde and Chaumeton and other French cinéastes pointed out so early on.

Edn, 1998), p. 115. Naremore, More than Night, pp. 254–277. Naremore, More than Night, pp. 40–95. Rick Altman, Film/Genre (London: BFI Publishing, 1999), p. 61. ), Shades of Noir (London: Verso, 1993), p. 2 et seq. Part I Conceptualizing Film Noir 1 The Strange Case of Film Noir Robert Porfirio When I first began teaching a college course in film noir and researching it for my doctoral dissertation in the early seventies there was little on the subject in English and only one book-length study, Borde and Chaumeton’s yet-to-be translated monograph.

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