Results 141 to 150 of about 20,518 (198)
Some of the next articles are maybe not open access.
Journal of Adaptation in Film & Performance, 2012
At the time of its release Frogs for Snakes (1999), written and directed by Amos Poe, was criticized for its alleged formalism and gratuitous violence and some facile digs at Tarantino’s Pulp Fiction. Redressing these predominantly negative assessments, the present article views Poe’s overtly theatrical crime movie as a neo-noir parody which joins a ...
openaire +3 more sources
At the time of its release Frogs for Snakes (1999), written and directed by Amos Poe, was criticized for its alleged formalism and gratuitous violence and some facile digs at Tarantino’s Pulp Fiction. Redressing these predominantly negative assessments, the present article views Poe’s overtly theatrical crime movie as a neo-noir parody which joins a ...
openaire +3 more sources
2012
Als bedeutender Teil der Filmgeschichte prägt die Stilrichtung des „Film noir“ Filme bis in die heutige Zeit. Da der Film „Touch of Evil“ von Orson Welles aus dem Jahre 1958 offiziell als letzter Film noir angesehen wird, werden moderne Produktionen nicht mehr mit diesem Namen betitelt.
openaire +1 more source
Als bedeutender Teil der Filmgeschichte prägt die Stilrichtung des „Film noir“ Filme bis in die heutige Zeit. Da der Film „Touch of Evil“ von Orson Welles aus dem Jahre 1958 offiziell als letzter Film noir angesehen wird, werden moderne Produktionen nicht mehr mit diesem Namen betitelt.
openaire +1 more source
2010
In John Dahl and Neo-Noir: Examining Auteurism and Genre, Paul Monaco provides a focused inquiry into the first three feature films that director John Dahl made for theatrical release: Kill Me Again (1989), Red Rock West (1993), and The Last Seduction (1994).
openaire +1 more source
In John Dahl and Neo-Noir: Examining Auteurism and Genre, Paul Monaco provides a focused inquiry into the first three feature films that director John Dahl made for theatrical release: Kill Me Again (1989), Red Rock West (1993), and The Last Seduction (1994).
openaire +1 more source
Neo-Noir and Noir-Lite: Masculinity and Postmodernist Aesthetics in New Retro-Noir
2007In the preceding chapters I have attempted to address the question of postmodernist filmic practices and gender representation by examining the use of filmic techniques associated with postmodernist cinema – such as irony, allusion or self-reflexivity – in genres associated primarily with the female audience.
openaire +1 more source
Untargeted lipidomic approach in studying pinot noir wine lipids and predicting wine origin
Food Chemistry, 2021Elizabeth Tomasino
exaly
Introduction: In Pursuit of the Neo-Noir
2019The chapter extends existing scholarship by providing a coherent history and comprehensive definition of neo-noir. Referencing various examples from film and television to make its considerable range clear—it argues for equivalent breadth in its critical interpretation.
openaire +1 more source