By William Luhr(auth.), Barry Keith Grant(eds.)
Film Noir offers new views in this hugely renowned and influential movie style, supplying an invaluable evaluation of its historic evolution and the various serious debates over its stylistic elements.
- Brings jointly a variety of views on an issue that has been a lot mentioned yet continues to be notoriously ill-defined
- Traces the historic improvement of the style, usefully exploring the kinfolk among the movies of the Nineteen Forties and Nineteen Fifties that demonstrated the "noir" universe and the more moderen movies within which it's been often revived
- Employs a transparent and clever writing sort that makes this the precise advent to the genre
- Offers an intensive and fascinating research of this renowned sector of movie stories for college kids and scholars
- Presents an in-depth research of six key motion pictures, each one exemplifying vital traits of movie noir: Murder, My Sweet; Out of the Past; Kiss Me Deadly; The lengthy Goodbye; Chinatown; and Seven
Chapter 1 advent (pages 1–19):
Chapter 2 ancient review (pages 20–49):
Chapter three serious review (pages 50–72):
Chapter four homicide, My candy (pages 73–99):
Chapter five Out of the prior (pages 100–122):
Chapter 6 Kiss Me lethal (pages 123–145):
Chapter 7 The lengthy so long (pages 146–170):
Chapter eight Chinatown (pages 171–190):
Chapter nine Seven (pages 191–214):
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Additional resources for Film Noir
Some neo-noir ﬁlms used stylized color to approximate the aesthetic distance the older black and white ones now produced; instead of the murky darkness and sinister shadows of the 1940s ﬁlms, they used sinister, too-bright, color surfaces, or dense sepia and amber tones to evoke old color photographs. It must be remembered, however, that such stylization 46 HISTORICAL OVERVIEW spoke to how black and white photography appeared to 1970s audiences, not necessarily how it had appeared to audiences in the 1940s.
The later ﬁlms used substantially more location shooting with apparently “natural” lighting than their predecessors and often presented their characters and stories as emblematic of the modern urban environment (“There are eight million stories in the naked city. ”). The earlier ﬁlms focused upon individual crimes and private detectives; the later ones often dealt with organized crime and the procedures of law-enforcement agencies. ” Movies like The Naked City presented themselves as semi-documentaries about the daily life of the city, at times making the city itself resemble a dominating character.
In the postwar era, the FBI and other federal law-enforcement agencies appropriated heroic images of the World War II military to characterize themselves as peacetime armies. The agencies often cooperated in the making of the ﬁlms, allowing some of their activities to be photographed and permitting reference to their case ﬁles. Some of the ﬁlms resemble recruitment advertisements. They present agents as regimented in service HISTORICAL OVERVIEW 37 of the greater good. However, the ﬂip side of these images of regimentation tapped into a major postwar anxiety, that of the erosion of individual identity in an increasingly corporate culture.