Shades of Noir (Haymarket)
| Author | : | |
| Rating | : | 4.80 (912 Votes) |
| Asin | : | 0860916251 |
| Format Type | : | paperback |
| Number of Pages | : | 304 Pages |
| Publish Date | : | 2017-10-22 |
| Language | : | English |
DESCRIPTION:
"SHADES BRING LIGHT TO NOIR" according to jimi. WELL WRITTEN AND INTELLIGENTLY PRESENTED BOOK ON FILM NOIR. EXAMPLES ARE WELL USED IN DESCRIBING THE INTRICATE FACETS OF FILM NOIR. A MUST BOOK FOR FANS OF THE GENRE.
. Joan Copjec is Professor of English and Comparative Literature and Director of the Center for the Study of Psychoanalysis and Culture at the State University of New York, Buffalo
Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. Walker, Marc Vernet, Slavoj iek.. For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. Beginning with an autonomy of that look—of the ‘poujadist‘ climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection—Shades of Noir re-explores and calls into question the object first constructed by it. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir.Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. The films they saw, including The Maltese Falcon, Double Indemnity. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights.Several contributions analyze the re
P.L., Decatur, Ga.Copyright 1993 Reed Business Information, Inc. Tucker, DeKalb Cty. From Library Journal The essays in this volume examine the widely studied and discussed genre from a variety of perspectives, not always agreeing on exactly what constitutes film noir or which movies exemplify its elements. Not really suitable as an introduction to the genre, this is worth considering as a secondary source for larger collections.- David C. Other pieces, notably the introduction and essay by Copjec, become bogged down in virtually impenetrable academese and are too nitpicky to interest most readers. Beyond such acknowledged classics as Double Indemnity (1944), one contributor sees noir elements in recent black-oriented films such as A Rage in Harlem (199