By William Luhr(auth.), Barry Keith Grant(eds.)
Film Noir offers new views in this hugely renowned and influential movie style, delivering an invaluable evaluation of its historic evolution and the various severe debates over its stylistic elements.
- Brings jointly various views on a subject matter that has been a lot mentioned yet is still notoriously ill-defined
- Traces the historic improvement of the style, usefully exploring the family among the movies of the Forties and Nineteen Fifties that tested the "noir" universe and the more moderen motion pictures within which it's been often revived
- Employs a transparent and clever writing kind that makes this the best creation to the genre
- Offers an intensive and fascinating research of this well known quarter of movie stories for college students and scholars
- Presents an in-depth research of six key motion pictures, each one exemplifying vital tendencies of movie noir: Murder, My Sweet; Out of the Past; Kiss Me Deadly; The lengthy Goodbye; Chinatown; and Seven
Chapter 1 creation (pages 1–19):
Chapter 2 historic evaluate (pages 20–49):
Chapter three serious evaluation (pages 50–72):
Chapter four homicide, My candy (pages 73–99):
Chapter five Out of the earlier (pages 100–122):
Chapter 6 Kiss Me lethal (pages 123–145):
Chapter 7 The lengthy see you later (pages 146–170):
Chapter eight Chinatown (pages 171–190):
Chapter nine Seven (pages 191–214):
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Additional resources for Film Noir
These ﬁlms (the procedural also appeared at this time in radio and television series, like Dragnet and The Lineup, and detective ﬁction) dealt like ﬁlm noir with the world of crime but focused less on the plights of individual criminals (as in Double Indemnity or The Postman Always Rings Twice) or on private investigators (as in The Big Sleep) and concentrated instead on the procedures by which governmental agents (whether members of municipal police forces or national agencies) acted in coordinated groups to solve crime.
An alternate title for Gun Crazy, Deadly is the Female, encapsulates this perception. Out of the Past provides a useful instance. Jeff (Robert Mitchum) is a private detective hired by a gangster, Whit (Kirk Douglas), to locate his girlfriend, Kathie (Jane Greer), who has both shot him and stolen $40,000 from him. Jeff ﬁnds her but she seduces him and they run off together. He thereby reneges on his professional responsibility to Whit. When Jeff’s partner tracks them down, Kathie kills the partner and returns to Whit.
The movie’s frame story resembles a utopian documentary. In its prologue, a “Voice of God” narrator describes the duties and advanced technology of Treasury agents and we see well-lit, documentary footage of the monumental US Treasury Building in Washington, DC and work being done in its sophisticated, state-of-the-art crime laboratories. An actual Treasury Department ofﬁcial, Elmer Lincoln Irey (who was also known at the time as the director of the Internal Revenue Service’s lead investigation unit during the successful federal tax evasion prosecution of the notorious gangster Al Capone), directly addresses the viewer to provide the historical context for the ﬁlm’s events (Plates 12 and 13).