A Companion to Film Noir

A Companion to Film Noir

Helen Hanson, Andrew Spicer

Language: English

Pages: 530


Format: PDF / Kindle (mobi) / ePub

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.• Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences
• Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio
• Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas
• Includes contributions from both established and emerging scholars

Man of Steel: The Official Movie Novelization

Vsevolod Pudovkin: Classic Films of the Soviet Avant-Garde (KINO - The Russian Cinema)

Bela Tarr, the Time After (Univocal)

Todd Haynes: Interviews (Conversations with Filmmakers)

Film Noir: From Berlin to Sin City (Short Cuts)

Andrei Rublev (BFI Film Classics)















understanding of melodrama. As selfconsciously – and as creatively – as cinematographers, sound designers and composers used sound, music, and diegetic songs to express this new interest in psychology and ambiguous motivations. David Butler’s account of film noir’s music (in a lonely tone, Chapter 18) also emphasizes the range and diversity of music in film noir and the need to resist its conventional homogenization under a set of conventions, especially the use of a jazz score that is a post-hoc

its “life” depending on its development, maintenance, or loss of connections with other actants. This process of negotiation and compromise continually reshapes the project so that other, needed, actants see their own goals in it. Whenever an actant makes a statement about a genre, or identifies a film in terms of genre, he or she is engaged in a project to enroll the film into the genre, the genre into the film, and other actants into his or her understanding of the film or genre. This is most

is initially associated with space, light, whiteness, and depth and is introduced with an opening highangle shot that demonstrates considerable depth of field. We see an extravagant decor of spiraling columns, a central oval stage, and, in the foreground, a set of tables and spectators that encircle the stage area. The luxurious, brightly lit features of the nightclub are deliberately highlighted to the extent that the significance of the setting seems almost to supersede that of the club’s

backed, if necessary, by the fully armed power of the state. Such films are bordering in the sense that they are split in their interests and techniques between two distinct, even opposed, visions of the world, brought together by the positioning of one of these as a problem to be resolved. In the noir semidocumentary, to put this another way, the narrative works to transcend individual circumstance and the inner life (which rarely, if ever, figures as a thematic or visual focus). Morality is a

when command and domination were male prerogatives. “The greatest change in the detective story since Poe,” states Russell B. Nye, “came in 1926 with the emergence of the Black Mask school of fiction.”22 Editor Joseph T. Shaw, a former Army saber instructor disgusted by the state of public morals, had a romantic sense of his readers, quite unlike the undifferentiated national news audience of Runyon or Hecht. The Black Mask reader, he wrote, “is vigorous-minded; hard, in a square man’s hardness;

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