More than Night: Film Noir in Its Contexts (2nd Edition) by James Naremore

By James Naremore

"Film noir" conjures up thoughts of classy, cynical, black-and-white video clips from the Nineteen Forties and '50s—melodramas approximately inner most eyes, femmes fatales, felony gangs, and fanatics at the run. James Naremore's prize-winning publication discusses those photos, but additionally indicates that the relevant time period is extra advanced and paradoxical than we discover. It treats noir as a time period in feedback, as an expression of creative modernism, as a symptom of Hollywood censorship and politics, as a marketplace procedure, as an evolving kind, and as an concept that circulates via all of the media. This new and elevated version of greater than evening comprises an extra bankruptcy on movie noir within the twenty-first century.

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By James Naremore

"Film noir" conjures up thoughts of classy, cynical, black-and-white video clips from the Nineteen Forties and '50s—melodramas approximately inner most eyes, femmes fatales, felony gangs, and fanatics at the run. James Naremore's prize-winning publication discusses those photos, but additionally indicates that the relevant time period is extra advanced and paradoxical than we discover. It treats noir as a time period in feedback, as an expression of creative modernism, as a symptom of Hollywood censorship and politics, as a marketplace procedure, as an evolving kind, and as an concept that circulates via all of the media. This new and elevated version of greater than evening comprises an extra bankruptcy on movie noir within the twenty-first century.

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As a result, science fiction film criticism has moved far afield from its early fanzine-type commentary, such as was found in a magazine like Famous Monsters of Filmland, and large-format picture-book histories, to include articles in the leading literary and film-related journals, as well as university-press-sponsored studies of individual films, filmmakers, and specific themes of science fiction cinema. While the present chapter does not pretend to offer a full survey of the history of this developing science fiction film criticism, it does summarize the main currents of thought on the genre and offer detailed commentaries on some studies.

Humanist, that is, insofar as it has usually assumed the primacy of man and his values, and insofar as it has expressed confidence and conviction concerning man’s ability and need to survive any confrontation with the forces of a hostile or inscrutable universe, or the threats posed by technological and scientific advancement”6 [Fig. 16]. 7 In the popular genre film, especially the S C I E N C E F I C T I O N F I L M : T H E C R I T I C A L C O N T E X T ❖ 39 Figure 17. Sontag’s “Imagination of Disaster” takes shape in the giant mutant ants of Them!

Rather, it suggests that in the tensions expressed therein we are observing a deep-rooted subversive power at work within our science fiction films. Other, less nuanced uses of the ideological method, in privileging how our film genres help to construct cultural attitudes, read totally against the grain of genre, against a specific formula’s function in mirroring and addressing our most pressing cultural concerns. Instead, they would see it simply as a potent manipulative device – much like S C I E N C E F I C T I O N F I L M : T H E C R I T I C A L C O N T E X T ❖ 43 Figure 19.

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