By Helen Hanson, Andrew Spicer
An authoritative better half that gives a wide-ranging thematic survey of this enduringly well known cultural shape and comprises scholarship from either proven and rising students in addition to research of movie noir's impact on different media together with tv and photograph novels.• Covers a wealth of latest ways to movie noir and neo-noir that discover matters starting from conceptualization to cross-media influences
• good points chapters exploring the broader ‘noir mediascape’ of tv, image novels and radio
• displays the ancient and geographical achieve of movie noir, from the Nineteen Twenties to the current and in numerous nationwide cinemas
• contains contributions from either tested and rising scholars
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Extra info for A Companion to Film Noir
Each has explored noir’s characteristics, meanings, boundaries, and preoccupations with fresh eyes, often consolidating earlier work but also extending and deepening it, and opening out new terrain. This collection is, we hope, an informed contribution to the ongoing debate about this fascinating subject in which ossified taxonomies are being replaced by detailed cultural histories and, thus, part of an inexhaustible project that is central to the mutating nature of film studies itself. Introduction 13 Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 Geoff Mayer, “A Hard-Boiled World: Goodbye Paradise and The Empty Beach,” Literature Film Quarterly 21 (2) (1993): 112–114.
Yet Hollywood’s Popular Front was always a heterogeneous political amalgam, including Republicans and New Deal Democrats as well as radicals, but it was its anti-fascist spirit that provided a key nexus between the Germanic and domestic émigrés. However, it is not at all surprising that the Europeans trod more quietly than their American counterparts since their status as immigrants put them in a more precarious position. 19 And while the films noir with which they were involved are often cited as critical of American social mores most of the Germanic émigrés had a peculiar fondness for American culture despite their critical eyes20 – a provocative synthesis that left them perfectly attuned to that hard-boiled tradition which provided the noir cycle with much of its content.
See Silver and Ursini, Film Noir Reader 3, especially pp. 180–181. 28 See, for example, the interviews of Joseph Lewis and Sam Fuller in Silver and Ursini (eds), Film Noir Reader 3. 29 Most “lists” of films noir, though they may vary in terms of titles, are rather consistent in affirming 1947 as the peak of production of films noir (see, for example, the lists of films noir by year in Silver, Ward, Ursini, and Porfirio (eds), Film Noir: The Encyclopedia, pp. 343–345, and a comparison of such lists in Andrew Spicer, Film Noir (Harlow: Longmans/Pearson Education Limited, 2002), p.
A Companion to Film Noir by Helen Hanson, Andrew Spicer