A Companion to Film Noir by Helen Hanson, Andrew Spicer

By Helen Hanson, Andrew Spicer

An authoritative significant other that provides a wide-ranging thematic survey of this enduringly renowned cultural shape and comprises scholarship from either validated and rising students in addition to research of movie noir's effect on different media together with tv and photograph novels.• Covers a wealth of latest techniques 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, image novels and radio
• displays the historic and geographical achieve of movie noir, from the Twenties to the current and in numerous nationwide cinemas
• comprises contributions from either demonstrated and rising scholars

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He is a protagonist who fits well Camus’ pejorative description of the “denatured hero” of tough fiction and who is an adequate foe of the fashionable denizens of a corporate (and rather legitimatized) underworld. As Borde and Chaumeton observed in updating their classic study to include neo-noir films: “color confers on the urban setting of steel and glass, which has been visually transformed over the years, a preponderant place, as if the actor were no more than the emanation of this. And this victory of color values .

This spirit of rebelliousness extended even to producers like Dore Schary, who was proud of his “smaller” black-and-white films, especially those that dealt with social issues, and had no qualms about clashing with owners such as Louis Mayer and Howard Hughes. Yet commentators like Jean-Pierre Chartier even in 1946 recognized the difference between the French films noir of the 1930s and the American films noir which eliminated the romantic sensibility of the French films and often replaced romance with the allure of the femme fatale.

In addition to these Europeans there was also a group of incipient filmmakers – mostly writers but directors and actors as well – who migrated from the east coast, whom I have termed the “domestic émigrés,”16 and who were, for the most part, variously involved in the American Popular Front. The majority came to Hollywood in the late 1930s and early 1940s and most were “lefties” (to use a term popularized by Clifford Odets), veterans of one form or another of the radical theater that flourished on the east coast in the 1930s.

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