By Helen Hanson, Andrew Spicer
An authoritative significant other that provides a wide-ranging thematic survey of this enduringly well known cultural shape and contains scholarship from either verified 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 ways 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 historic and geographical achieve of movie noir, from the Twenties to the current and in various nationwide cinemas
• contains contributions from either proven and rising scholars
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Additional resources for A Companion to Film Noir
He is a protagonist who fits well Camus’ pejorative description of the “denatured hero” of tough fiction and who is an adequate foe of the fashionable denizens of a corporate (and rather legitimatized) underworld. As Borde and Chaumeton observed in updating their classic study to include neo-noir films: “color confers on the urban setting of steel and glass, which has been visually transformed over the years, a preponderant place, as if the actor were no more than the emanation of this. And this victory of color values .
77–93; and my introduction to Robert Porfirio, Alain Silver, and James Ursini (eds), Film Noir Reader 3 (New York: Limelight Editions, 2001), especially pp. 2–3. : University Microfilms, 1980). ” In a sense film noir provided a gateway for more contemporary commercial genres to emerge as many of its talents – those in particular who were not drummed out of Hollywood by the blacklist – turned to more topical material. Elia Kazan and Nicholas Ray are exemplar here. See James Naremore, More Than Night: Film Noir in its Contexts (Berkeley: University of California Press, 2008).
Paul Hammond (San Francisco: City Light Books, 2002), p. 1. Paul Schrader, “Notes on Film Noir,” Film Comment 8 (1) (1972); rptd in Alain Silver and James Ursini (eds), Film Noir Reader (New York: Limelight Editions, 1996), pp. 53–63, at pp. 53–54. Alain Silver and Elizabeth Ward (eds), Film Noir: An Encyclopedic Reference to the American Style (Woodstock, NY: Overlook Press, 1979), p. 1. James Naremore, More than Night: Film Noir in its Contexts (Berkeley: University of California Press, 2nd edn, 2008) p.