Results 11 to 20 of about 3,868 (222)
Dark Borders: Film Noir and American Citizenship, by Jonathan Auerbach [PDF]
Alphaville: Journal of Film and Screen Media, 2014 Over the past few decades, many scholars of film noir have displayed a certain repetition compulsion, often proclaiming as their starting standpoint the very incongruity of defining film noir as a genre because of its resistance to being labelled as such.
Christina Parker-Flynn
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Censoring and Selling Film Noir
Between, 2015 Film noir is known for its duplicity. Industry censors considered 1940s noir cinema provocative, salacious and ‘sordid.’ Hollywood studios walked a fine line between appearing to comply with Hays office Production Code censorship while simultaneously ...
Sheri Chinen Biesen
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Вісник Харківського національного університету імені В.Н. Каразіна. Серия: Теорія культури та філософіі науки, 2021 The issue of “genre memory” in the noir film language is one of the most relevant problems in the modern study of “black” cinema evolution. In spite of the fact that in the recent years, noir has significantly expanded its traditional artistic “cover ...
Nataliia Markhaichuk +2 more
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Latin American Research Review, 2023 International reconsideration of Mexican film noir is a recent phenomenon. For decades, Mexican film criticism tended to dismiss the importance of this tradition and even to deny its existence, often citing the presence of melodramatic elements in would ...
Daniel Chávez Landeros
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Bezdroża i długie trwanie filmu „noir”
Kwartalnik Filmowy, 2023 Książka Patrycji Włodek „Wszystko noir?”. O inspiracjach i wariantach – życie po życiu film noir (2022) jest analizą wybranych aspektów czarnego kryminału łączącą refleksję nad kinem klasycznym z omówieniem najnowszych dzieł gatunku.
Sebastian Smoliński
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Akademisk Kvarter, 2021 This article critically analyses La fille inconnue/The Unknown Girl (Jean-Pierre Dardenne and Luc Dardenne, 2016) as a genre film that operates through a transnational mix of references to the French noir and neo-noir traditions.
Jamie Nicholas Steele
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Late Modernist Noirs: Béla Tarr’s Damnation/ Kárhozat and György Fehér’s Passion/ Szenvedély [PDF]
Caietele Echinox, 2022 Since the 80s, a large number of films, manifestly indebted to the classic American noir films of the 40s and 50s, have been appropriately labeled neo-noirs.
Radu Toderici
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Transatlantica, 2012 According to the established historiography, the generic label “film noir” was used in France in 1946 to refer to a series of Hollywood crime fictions produced in the 1940s and 1950s.
Thomas Pillard
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The Usual Suspects or the potency of falsity
Mise au Point, 2014 This essay seeks to contextualize Bryan Singer’s film The Usual Suspects within the general frame of generic references to noir and neo-noir traditions. Using these references to manipulate the spectator, the film works to redefine our approach to genre ...
Christophe Gelly
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Edda, 2020 Sammendrag Torborg Nedreaas’ novellesamling Bak skapet står øksen (1945) skildrer forholdene i Norge under den tyske okkupasjonen (1940–45). Denne artikkelen viser at stilen i novellesamlingen ligner på den som utmerker samtidens film noir og
Christine Hamm
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