By Alison Smith, Diana Holmes
Cinema is leisure that still communicates a collection of values and a imaginative and prescient of the area. This ebook explores the complicated dating among leisure, ideology, and audiences from the Stalinist musicals of the Nineteen Thirties via cinematic representations of masculinity lower than Franco, to contemporary French motion pictures and their Hollywood remakes. It covers movie from the previous Soviet Union, Germany East and West, Czechoslovakia, France, and Spain, and the connection among Europe and Hollywood.
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Extra resources for 100 Years of European Cinema: Entertainment or Ideology?
25 At this point, then, let us turn our attention to the second of the three determinants of a film movement. A Distinct Cluster of Films On first consideration this criterion would seem less problematic to demonstrate than some of our earlier assertions since we are here only dealing with classic film noir. Today most film theorists seem relatively comfortable placing the cycle within the parameters 1940 and 1960. In more theoretical terms, film noir was a movement which bridged the classic text (the story-bound studio film of the 1930s) with the postmodern one (including neo-noirs to the present).
61. ), Shades of Noir (London: Verso, 1993), p. 2 et seq. Part I Conceptualizing Film Noir 1 The Strange Case of Film Noir Robert Porfirio When I first began teaching a college course in film noir and researching it for my doctoral dissertation in the early seventies there was little on the subject in English and only one book-length study, Borde and Chaumeton’s yet-to-be translated monograph. Now, over thirty years later, there are numerous courses on the subject and a voluminous amount of written material in English, French, and many other languages.
While Frank Partos’s story betrays its pulp sources in its illogic and incongruities, it is indebted to them as well in its depiction of an oppressive, fear-ridden world, one that we would come to associate with the fiction of Woolrich. And if we look back further, it is also beholden to the kammerspielefilm, as is quite evident in the expressionistic bias of Latvian-born Boris Ingster’s direction (one contemporary critic noted that he was better at directing shadows than actors) and Peter Lorre’s performance as the pathetic, crazed killer – reminiscent of his role in M (1931).