By Helen Hanson, Andrew Spicer
An authoritative better half that gives a wide-ranging thematic survey of this enduringly renowned cultural shape and comprises scholarship from either confirmed and rising students in addition to research of movie noir's impact on different media together with tv and photograph novels.• Covers a wealth of recent techniques to movie noir and neo-noir that discover matters starting from conceptualization to cross-media influences
• positive factors chapters exploring the broader ‘noir mediascape’ of tv, photo novels and radio
• displays the old and geographical achieve of movie noir, from the Nineteen Twenties to the current and in various nationwide cinemas
• comprises contributions from either tested and rising scholars
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Extra resources for A Companion to Film Noir
Unlike earlier noir pretenders, Stranger on the Third Floor is sufficiently unique in the way it combines elements from a variety of classic film genres – gangster/crime, detective, horror, even social problem – to usher in the noir era, though it is a far cry from Citizen Kane in terms in terms of quality and originality. While Frank Partos’s story betrays its pulp sources in its illogic and incongruities, it is indebted to them as well in its depiction of an oppressive, fear-ridden world, one that we would come to associate with the fiction of Woolrich.
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.
Television also started to draw the adult male audience away from theaters with such “attractions” as sports and crime shows. Understandably, the major studios turned away from B movies toward A films whose budgets allowed them to deploy a variety of “new” techniques (including improved color, wider and wider screens, stereophonic sound, and, briefly, 3-D) which were corrosive of the visual style of film noir (by emphasizing the film plane over the depth plane, balanced lighting over chiaroscuro, “star” over “icon”) and which once again began to valorize story over technique.