A Companion to Film Noir

A Companion to Film Noir

Helen Hanson, Andrew Spicer

Language: English

Pages: 530


Format: PDF / Kindle (mobi) / ePub

An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels.• Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences
• Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio
• Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas
• Includes contributions from both established and emerging scholars

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the culture than the native who has been immersed in it all his life,” in Silver and Ursini (eds), Film Noir Reader 3, p. 230. For a more comprehensive discussion of the ways film noir broke with the conventions of the classic studio film, see Porfirio, “Dark Age of American Film,” especially chapters 5 and 6. From Welles’s experience with radio’s The March of Time, which, together with the film series of the same name, proved to be the major source of the semi-documentaries of the noir cycle. I

appear. Dalton descends into the subway and joins the nocturnal commuters facing the edge of the platform, towards the camera. As a train hurtles past, they are cast into darkness, silhouetted A Companion to Film Noir, First Edition. Edited by Andrew Spicer and Helen Hanson. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd. 34 Mark Bould beneath a bright white recruitment poster for the vampire army. The commuters’ eyes – and the tip of Dalton’s cigarette – glow

Never Been Modern, trans. Catherine Porter (New York: Harvester Wheatsheaf, 1993). 9 Robert Stam, “Beyond Fidelity: The Dialogics of Adaptation,” in James Naremore (ed.), Film Adaptation (London: Athlone, 2000), pp. 54–76, pp. 57, 64. 10 See Janet Staiger, “Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History,” Perverse Spectators: The Practices of Film Reception (New York: New York University Press, 2003), pp. 61–76. 46 Mark Bould 11 Langford, Film Genre, p. 233. 12 Ira Jaffe,

complex organism, fraught with contradictions, unstable, even sometimes on the edge of collapse.21 Compare, for example, the morbid air that the stained and eroded architectural surfaces of Atget’s Paris exudes with the coarse expanses of cobblestone, empty walkways and littered alleys in The Asphalt Jungle (John Huston, 1950). Both are cities rife with “the silent call of the earth,” to use Heidegger’s phrase.22 To refer to the city as a jungle, a swamp, or a desert – as in Jean-Paul Sartre’s

of the fact that a still-living Meng is in the courtroom as he sentences Mike to death. An exaggeratedly gestural and antinaturalistic declamatory acting style in these sequences is complemented by dialogue rendered eerily threatening through use of an echo chamber. Interiorized as the locus of a set of values and procedures that shape human self-understanding, the courtroom becomes an abstract play space as ceiling and walls are replaced by crisscrossed patterns of light and dark. Mise-en-scène

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