Street with no name : a history of the classic American film noir / Andrew Dickos.
A Choice Outstanding Academic Title Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evi...
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| Language: | English |
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Lexington :
University Press of Kentucky,
©2002.
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MARC
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| 100 | 1 | |a Dickos, Andrew, |d 1952- |e author. | |
| 245 | 1 | 0 | |a Street with no name : |b a history of the classic American film noir / |c Andrew Dickos. |
| 260 | |a Lexington : |b University Press of Kentucky, |c ©2002. | ||
| 300 | |a 1 online resource (xvi, 307 pages) : |b illustrations. | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a computer |b c |2 rdamedia. | ||
| 338 | |a online resource |b cr |2 rdacarrier. | ||
| 347 | |a data file |2 rda. | ||
| 504 | |a Includes bibliographical references (pages 283-289) and index. | ||
| 505 | 0 | 0 | |t To name the thing : film noir as style, as genre -- |t German expressionism and the roots of the film noir -- |t Fritz Lang -- |t Robert Siodmak -- |t The inception of the film noir in the French cinema of the 1930s -- |t The film noir in France in the immediate postwar years -- |g 1. |t The noir in America -- |t The noir city -- |t Archetypes- protagonists -- |t Abraham Polonsky -- |t Jules Dassin -- |t Nicholas Ray -- |t Orson Welles -- |g 2. |t The hard-boiled fiction influence -- |t Cornell Woolrich -- |t The private detective -- |t Humphrey Bogart, Spade, Marlowe, and the film noir -- |t The gangster figure and the noir -- |t John Huston -- |t Violence in the noir -- |t Samuel Fuller -- |t Robert Aldrich -- |t Don Siegel -- |t Sexuality in the noir -- |t Families in the noir -- |t Joseph H. Lewis -- |g 3. |t Women as seen in the film noir -- |t Otto Preminger -- |g 4. |t Noir production -- |t Noir iconography -- |t The use of voice-over narration -- |t The flashback device -- |t Amnesia as a storytelling device -- |t The B noir production -- |t Documentary realism in the noir -- |t Critical and popular reception of the film noir -- |t HUAC and the blacklist -- |t Fight pictures -- |t Caper films -- |t Crime syndicate exposés -- |t The Kefauver Crime hearings -- |t Anthony Mann -- |t Phil Karlson -- |g 5. |t The noir influence on the French new wave -- |t Jean-Pierre Melville -- |g Epilogue : |t Comments on the classic film noir and the neo-noir. |
| 520 | |a A Choice Outstanding Academic Title Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evil, Night and the City, Double Indemnity, Laura, The Big Heat, The Killers, Kiss Me Deadly and, more recently, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were found in Germany and France and imported to Hollywood by emigré filmmakers, who developed them and. | ||
| 546 | |a English. | ||
| 588 | 0 | |a Print version record. | |
| 650 | 0 | |a Film noir |z United States |x History and criticism. | |
| 650 | 7 | |a Film noir. |2 fast |0 (OCoLC)fst00924273. | |
| 651 | 7 | |a United States. |2 fast |0 (OCoLC)fst01204155. | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635. | |
| 776 | 0 | 8 | |i Print version: |a Dickos, Andrew, 1952- |t Street with no name. |d Lexington : University Press of Kentucky, ©2002 |z 0813122430 |w (DLC) 2001007224 |w (OCoLC)48468848. |
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