Details

A Companion to Film Noir


A Companion to Film Noir


1. Aufl.

von: Andre Spicer, Helen Hanson

150,99 €

Verlag: Wiley-Blackwell
Format: PDF
Veröffentl.: 24.06.2013
ISBN/EAN: 9781118523759
Sprache: englisch
Anzahl Seiten: 544

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Beschreibungen

An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels. <ul> <li>Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences</li> <li>Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio</li> <li>Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas</li> <li>Includes contributions from both established and emerging scholars</li> </ul>
<p>List of Illustrations viii</p> <p>Notes on Contributors x</p> <p>Acknowledgments xviii</p> <p>Foreword xix<br /> <i>James Naremore</i></p> <p>Introduction: The Problem of Film Noir 1<br /> <i>Andrew Spicer</i></p> <p><b>Part I Conceptualizing Film Noir 15</b></p> <p>1 The Strange Case of Film Noir 17<br /> <i>Robert Porfirio</i></p> <p>2 Genre, Hybridity, Heterogeneity: or, the Noir-SF-Vampire-Zombie-Splatter-Romance-Comedy-Action-Thriller Problem 33<br /> <i>Mark Bould</i></p> <p>3 A Wet Emptiness: The Phenomenology of Film Noir 50<br /> <i>Henrik Gustafsson</i></p> <p>4 Cinephilia and Film Noir 67<br /> <i>Corey K. Creekmur</i></p> <p><b>Part II Hidden, Hybrid, and Transmedia Histories and Influences 77</b></p> <p>5 Precursors to Film Noir 79<br /> <i>Wheeler Winston Dixon</i></p> <p>6 Crisscrossed? Film Noir and the Politics of Mobility and Exchange 94<br /> <i>Alastair Phillips</i></p> <p>7 Film Noir and Horror 111<br /> <i>Peter Hutchings</i></p> <p>8 Borderings: The Film Noir Semi-Documentary 125<br /> <i>R. Barton Palmer</i></p> <p>9 Crime Fiction and Film Noir 142<br /> <i>William Marling</i></p> <p>10 Film Noir, American Painting and Photography: Questions of Influence 158<br /> <i>Tom Ryall</i></p> <p><b>Part III Social, Industrial, and Commercial Contexts 175</b></p> <p>11 The Politics of Film Noir 177<br /> <i>Brian Neve</i></p> <p>12 The Black Typewriter: Who Wrote Film Noir? 193<br /> <i>David Wilt</i></p> <p>13 Film Noir and Studio Production Practices 211<br /> <i>Geoff Mayer</i></p> <p>14 Film Noir and Post-Studio Production Practices 229<br /> <i>John Berra</i></p> <p>15 Selling Noir: Stars, Gender, and Genre in Film Noir Posters and Publicity 245<br /> <i>Mary Beth Haralovich</i></p> <p><b>Part IV The Fabric of Film Noir: Style and Performance 265</b></p> <p>16 Out of the Shadows: Noir Lighting and Hollywood Cinematography 267<br /> <i>Patrick Keating</i></p> <p>17 The Ambience of Film Noir: Soundscapes, Design, and Mood 284<br /> <i>Helen Hanson</i></p> <p>18 In a Lonely Tone: Music in Film Noir 302<br /> <i>David Butler</i></p> <p>19 Acting and Performance in Film Noir 318<br /> <i>Donna Peberdy</i></p> <p><b>Part V Identities and Film Noir 335</b></p> <p>20 Film Noir and Subjectivity 337<br /> <i>Christophe Gelly</i></p> <p>21 Women in Film Noir 353<br /> <i>Yvonne Tasker</i></p> <p>22 "The Corpse on Reprieve": Film Noir's Cautionary Tales of "Tough Guy" Masculinity 369<br /> <i>Gaylyn Studlar</i></p> <p>23 Ethnicity and Race in American Film Noir 387<br /> <i>Dan Flory</i></p> <p>24 The Climb and the Chase: Film Noir and the Urban Scene – Representations of the City in Three Classic Noirs 405<br /> <i>Murray Pomerance</i></p> <p><b>Part VI Noir in Other Forms 421</b></p> <p>25 Radio Noir in the USA 423<br /> <i>Jesse Schlotterbeck</i></p> <p>26 Television Noir 440<br /> <i>Steven Sanders</i></p> <p>27 "It Rhymes with Lust": The Twisted History of Noir Comics 458<br /> <i>James Lyons</i></p> <p><b>Part VII New Geographies of Film Noir 477</b></p> <p>28 Film Noir in Asia: Historicizing South Korean Crime Thrillers 479<br /> <i>Nikki J.Y. Lee and Julian Stringer</i></p> <p>29 Bombay Noir 496<br /> <i>Lalitha Gopalan</i></p> <p>Index 512</p>
<p>“This is recommended for film studies and for humanities collections.”  (<i>Reference Reviews</i>, 1 September 2015)</p> <p>"The twenty-eight essays in this collection represent a landmark in noir criticism. Written by some of the most accomplished veterans in the field, as well as many new and promising voices, these essays are both deeply engaged with previously contested critical territory and agressively turned toward undiscovered and untilled terrain ... This is a collection that will be studied, cited, and, as with all of the most influential film noir criticism, contested for many years to come.”  (<i>Wide Angle</i>, 1 March 2014)</p>
<p><b>Andrew Spicer</b> is Reader in Cultural History at the University of the West of England, UK. His principal research interests lie in film and cultural history, including genre, stardom and constructions of masculinity, British cinema, and the role of producers and screenwriters in film-making. He has published widely on all these topics, including <i>Typical Men</i> (2003) and <i>Sydney Box</i> (2006), and three volumes on film noir: <i>Film Noir</i> (2002), <i>European Film Noir</i> (2007), and the <i>Historical Dictionary of Film Noir</i> (2010). He is currently co-editing a volume about film producers, and writing a study of Sean Connery.</p> <p><b>Helen Hanson</b> is a Senior Lecturer in Film Studies at the University of Exeter, UK. Her research interests cover adaptation, gender and genre, film history, film style and technology, with a particular focus on the history of Hollywood.  She has written articles and chapters on these topics, and has authored <i>Hollywood Heroines: Film Noir and the Female Gothic Film</i> (2007) and co-edited <i>The Femme Fatale: Images, Histories, Contexts</i> (2010). She also has a forthcoming book on the evolution of sound technology, sound craft and film style in Hollywood cinema from 1931–1950.</p>
<p>Ever since French commentators identified a new mode of American film-making as they watched <i>Double Indemnity</i> and <i>Murder, My Sweet</i> just after World War II ended, film noir has fascinated cineastes like no other genre. This authoritative companion features the work of a highly distinguished group of international scholars, adopting a thematic approach that examines key topics rather than focusing on individual titles or auteurs. It reflects the expanding purview of analysts by including novel subjects such as neo-noir, international noir movies from Europe, Asia, Latin America and Australasia, and ‘noir’ as expressed in other forms such as comics, graphic novels, posters, radio and television.</p> <p>As our understanding of the noir corpus expands to constitute a ‘noir mediascape’, this volume represents a compelling addition to the academic debate, interrogating film noir from a range of angles including its conceptualization; its hidden, hybrid and transmedia histories; its social, industrial and commercial contexts; its aesthetic fabric; its presentation of identity; and its proliferation in other media forms and geographical loci. The companion explores noir in relation to film history, questions of genre and categorization, issues of style and identity, and its particularized modes of production. Informed by cutting-edge scholarship, <i>A Companion to Film Noir</i> extends and deepens the developing understanding of this enduringly captivating mode of cultural expression.</p>
<p>“A rich volume exploring the depth, breadth and scope of scholarship on film noir from a diverse array of perspectives. A valuable contribution to the evolving landscape of noir criticism.”<br /> <i>Sheri Chinen Biesen, Rowan University</i></p> <p>“Wide-ranging yet historically specific, global in scope but sensitive to local contexts of production, reception, and style, Spicer and Hanson's collection is a superb guide to an elusive category—the film noir—that continues to fascinate students, scholars, and cinephiles alike.”<br /> <i>Justus Nieland, Michigan State University</i></p>

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