By Helen Hanson, Andrew Spicer
An authoritative significant other that provides 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 picture novels.• Covers a wealth of latest ways to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• good points chapters exploring the broader ‘noir mediascape’ of tv, picture novels and radio
• displays the ancient and geographical succeed in of movie noir, from the Nineteen Twenties to the current and in quite a few nationwide cinemas
• contains contributions from either verified and rising scholars
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Additional resources for A Companion to Film Noir
If Hollywood’s political “awakening” in the late 1930s made it fashionable for members of the colony to “go left” as one social analyst asserts,18 it is also true that the domestic émigrés, especially the more radical among them, devoted much of their energy to advancing the cause of trade unionism and forging a Popular Front within the film industry. They were particularly influential in securing industry recognition of the Screen Writers Guild as a bargaining agent in 1940 and the Marxist domination of this organization continued throughout much of the decade.
Aerial walkways span between soaring glass-faced office blocks. Empty escalators descend into the darkness beneath the streets. The sun slowly sinks. Headlines tell us that “a single bat started it all,” that a “German blood substitute” has failed. The glamorous model advertising Infinity White advanced whitening toothpaste has bright red lipstick and dazzling white fangs. By a graffitied subway entrance “Blood is life” is scrawled in red. As the sun finally sets, as night falls, the steel blinds over windows rise, like eyelids opening.
D. Marsham, Life, August 25, 1947, qtd in Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: McGraw-Hill, 1981), p. 111. Richard Dyer, “Resistance through Charisma: Rita Heywood and Gilda,” in E. ), Women in Film Noir (London: BFI Publishing, rev. edn, 1998), p. 115. Naremore, More than Night, pp. 254–277. Naremore, More than Night, pp. 40–95. Rick Altman, Film/Genre (London: BFI Publishing, 1999), p. 61. ), Shades of Noir (London: Verso, 1993), p. 2 et seq.
A Companion to Film Noir by Helen Hanson, Andrew Spicer