Download A Companion to Film Noir by Helen Hanson, Andrew Spicer PDF

By Helen Hanson, Andrew Spicer

An authoritative spouse that provides a wide-ranging thematic survey of this enduringly renowned cultural shape and contains scholarship from either confirmed and rising students in addition to research of movie noir's effect on different media together with tv and image novels.• Covers a wealth of latest ways to movie noir and neo-noir that discover matters starting from conceptualization to cross-media influences
• positive aspects chapters exploring the broader ‘noir mediascape’ of tv, photo novels and radio
• displays the old and geographical succeed in of movie noir, from the Nineteen Twenties to the current and in quite a few nationwide cinemas
• contains contributions from either proven and rising scholars

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Additional resources for A Companion to Film Noir

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Stranger on the Third Floor combined the talents of photographer Nicholas Musuraca, composer Roy Webb and art director Albert D’Agostino who formed the “core” of the RKO noir style. Perhaps most relevant to this style was D’Agostino who had already been exposed to the “Germanic” style when working at Universal, where the art department included Charles Hall and Herman Rosse – key figures in the development of the definitive look of the Universal horror film, beginning with Frankenstein (1931). Unlike earlier noir pretenders, Stranger on the Third Floor is sufficiently unique in the way it combines elements from a variety of classic film genres – gangster/crime, detective, horror, even social problem – to usher in the noir era, though it is a far cry from Citizen Kane in terms in terms of quality and originality.

Downtown, the streets are equally deserted. ” Aerial walkways span between soaring glass-faced office blocks. Empty escalators descend into the darkness beneath the streets. The sun slowly sinks. Headlines tell us that “a single bat started it all,” that a “German blood substitute” has failed. The glamorous model advertising Infinity White advanced whitening toothpaste has bright red lipstick and dazzling white fangs. By a graffitied subway entrance “Blood is life” is scrawled in red. As the sun finally sets, as night falls, the steel blinds over windows rise, like eyelids opening.

For a concise but lucid overview, see Appendix C. in Silver and Ward (eds), Film Noir, 3rd edn, pp. 372–385. To its credit, the transgeneric nature of film noir has made it a staple of contemporary film criticism since many see there the seeds of the postmodern metatext. C. Wallace, “Revitalization Movements,” in American Anthropologist 58 (1956). Terry Lovell’s article, “Sociology and the Cinema,” Screen 12 (l) (Spring, 1971): 15–26, a seminal application of this concept to film, indicates its usefulness in defining the French new wave.

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