By Helen Hanson, Andrew Spicer
An authoritative spouse that gives 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 impression on different media together with tv and picture novels.• Covers a wealth of recent techniques to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• positive aspects chapters exploring the broader ‘noir mediascape’ of tv, image novels and radio
• displays the ancient and geographical succeed in of movie noir, from the Nineteen Twenties to the current and in numerous nationwide cinemas
• comprises contributions from either demonstrated and rising scholars
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Additional resources for A Companion to Film Noir
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 orange in the night.
Alain Silver and Elizabeth Ward (eds), Film Noir: An Encyclopedic Reference to the American Style (Woodstock, NY: Overlook Press, 1979), p. 1. James Naremore, More than Night: Film Noir in its Contexts (Berkeley: University of California Press, 2nd edn, 2008) p. 5. ), European Film Noir (Manchester: Manchester University Press, 2007), pp. 4–7, 16–17. Naremore, More than Night, pp. 11, 39. For a wide-ranging discussion of some possible noirs from this period, both American and British, see Wheeler Winston Dixon, Film Noir and the Cinema of Paranoia (Edinburgh: Edinburgh University Press, 2009), ch.
Zanuck based their reputation (and their power) on their ability to ferret out a compelling story, thereby making the producer the most important cog in the creation of the studio film. g. The Power and The Glory (1933)), and when Sturges began to direct his own films in 1940 he paved the way for the emergence of other writer-directors, who in turn began to displace the producer in importance. Among the most important of these as far as the noir cycle is concerned were John Huston, Billy Wilder, and especially Orson Welles.
A Companion to Film Noir by Helen Hanson, Andrew Spicer