By Helen Hanson, Andrew Spicer
An authoritative significant other that gives a wide-ranging thematic survey of this enduringly well known cultural shape and contains scholarship from either proven and rising students in addition to research of movie noir's impact on different media together with tv and photo novels.• Covers a wealth of latest techniques 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, photograph novels and radio
• displays the old and geographical succeed in of movie noir, from the Twenties to the current and in quite a few nationwide cinemas
• contains contributions from either demonstrated and rising scholars
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Extra resources for A Companion to Film Noir
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).