By Helen Hanson, Andrew Spicer
An authoritative better half that provides a wide-ranging thematic survey of this enduringly renowned cultural shape and contains scholarship from either confirmed and rising students in addition to research of movie noir's impact on different media together with tv and image novels.• Covers a wealth of recent techniques to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• beneficial properties chapters exploring the broader ‘noir mediascape’ of tv, photo novels and radio
• displays the historic and geographical achieve 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 info for A Companion to Film Noir
In a sense film noir provided a gateway for more contemporary commercial genres to emerge as many of its talents – those in particular who were not drummed out of Hollywood by the blacklist – turned to more topical material. Elia Kazan and Nicholas Ray are exemplar here. See James Naremore, More Than Night: Film Noir in its Contexts (Berkeley: University of California Press, 2008). The evasive nature of film noir in terms of consistent iconography or narrative patterns has fueled a good deal of the debate.
307–329; my “No Way Out: Existential Motifs in the Film Noir,” also in Silver and Ursini (eds), Film Noir Reader, pp. 77–93; and my introduction to Robert Porfirio, Alain Silver, and James Ursini (eds), Film Noir Reader 3 (New York: Limelight Editions, 2001), especially pp. 2–3. : University Microfilms, 1980). ” In a sense film noir provided a gateway for more contemporary commercial genres to emerge as many of its talents – those in particular who were not drummed out of Hollywood by the blacklist – turned to more topical material.
For one thing, the war cut Hollywood off from an international market that had accounted for up to 40 percent of its profits at the height of the 1930s. The film industry attempted to increase domestic attendance (weekly attendance figures reached their peak in 1946) through a variety of tactics, most of them successful, at least for a while: Saturday morning/ afternoon matinees and all-cartoon shows to attract the kids; door-prizes and various give-a-ways to attract the adults; longer exhibition hours; and, most 28 Robert Porfirio importantly for our purposes, increased use of the “double feature” at most theaters other than the prestige “first-run” houses in major markets.
A Companion to Film Noir by Helen Hanson, Andrew Spicer