Film noir's popularity with cinema audiences, enthusiasts and scholars has remained unabated since post-war French critics began discerning a new trend in American film with the release of such stylish and atmospheric crime features as Double Indemnity and Murder, My Sweet. Many of Hollywood's greatest directors such as Fritz Lang and Robert Siodmak are now closely associated with film noir's psychologically acute observations of the darker contours of the American urban landscape. Thanks to evocative cinematography, sharp writing and powerful performances, these films have had an enduring influence on international visual culture.
100 Film Noirs provides an authoritative overview of film noir past and present by examining its core films and themes and providing an accessible introduction to critical debates. The book goes beyond the classical canon to examine the ways in which noir continues to have a diverse influence on American cinema. It demonstrates the way that noir has intervened in other more established Hollywood genres and also considers numerous lesser-known examples of the field. Importantly, 100 Film Noirs has a strong international dimension and provides new and revealing insights into film noirs from France, Germany, Japan, India, Mexico and beyond.
Recenzijos
'100 Film Noirs offers many insights into the history and visual grammar of the genre and provides the perfect excuse to revisit some classics and discover some forgotten masterpieces.' - PD Smith, The Guardian '100 Film Noirs has a strong international dimension and provides new and revealing insights into film noirs from France, Germany, Japan, India, Mexico and beyond' - Sight and Sound Both a treasure trove of facts and a taster for those keen to find out more about the seamier side of life...' PinkPaper.com 'This new volume in the successful "BFI Screen Guides" series provides an entertaining and authoritative guide to the genre through an examination of 100 key films. "Film Noir" is a popular and widely-studied genre. The authors are both high-profile film scholars. It includes classic films such as "Double Indemnity" alongside more recent movies including "Sin City". Richly illustrated with images from the films are discussed. It also includes examples from Europe, Japan, India and Mexico, together with an editorial overview of the genre and its key debates.' - Tangled Web 'As has already been indicated, this is an authoritative work, as one might expect with the imprint of the British Film Institute. It is extremely readable in style and is recommended for students of film studies in school, college, or university, as well as for public libraries where it would be eagerly read by lovers of film noir.' - Eric Jukes, Reference Reviews '...takes into account the fact that film noir as a genre has influenced films in France, Japan, Germany, Mexico and India, so there is welcome inclusion of films other than the classics, showing how diverse the influence is.' - Baary Forshaw, fivebooks.com
Daugiau informacijos
'100 Film Noirs offers many insights into the history and visual grammar of the genre and provides the perfect excuse to revisit some classics and discover some forgotten masterpieces.' - PD Smith, The Guardian '100 Film Noirs has a strong international dimension and provides new and revealing insights into film noirs from France, Germany, Japan, India, Mexico and beyond' - Sight and Sound Both a treasure trove of facts and a taster for those keen to find out more about the seamier side of life...' PinkPaper.com 'This new volume in the successful "BFI Screen Guides" series provides an entertaining and authoritative guide to the genre through an examination of 100 key films. "Film Noir" is a popular and widely-studied genre. The authors are both high-profile film scholars. It includes classic films such as "Double Indemnity" alongside more recent movies including "Sin City". Richly illustrated with images from the films are discussed. It also includes examples from Europe, Japan, India and Mexico, together with an editorial overview of the genre and its key debates.' - Tangled Web 'As has already been indicated, this is an authoritative work, as one might expect with the imprint of the British Film Institute. It is extremely readable in style and is recommended for students of film studies in school, college, or university, as well as for public libraries where it would be eagerly read by lovers of film noir.' - Eric Jukes,
BFI SCREEN GUIDES.- 100 FILM NOIRS FINAL.- Acknowledgements.-
Introduction.- 100 Films:.- 36, Quai des orfčvres (Olivier Marchal, 2004).-
The American Friend (Wim Wenders, 1977).- Asphalt Jungle (John Huston,
1950).- La Bźte humaine (Jean Renoir, 1938).- The Big Combo (Joseph H Lewis,
1955).- The Big Heat (Fritz Lang, 1953).- The Big Sleep (Howard Hawks,
1946).- Blast of Silence (Alan Baron, 1961).- The Blue Dahlia (George
Marshall, 1946).- Body and Soul (Robert Rossen, 1947).- Born to Kill (Robert
Wise, 1947).- Brighton Rock (John Boulting, 1947).- Call Northside 777 (Henry
Hathaway, 1947).- Castle of Sand (Nomura Yoshitaro, 1974).- The Chase (Arthur
Ripley, 1946).- Chinatown (Roman Polanski, 1974).- C.I.D. (Raj Khosla, India,
1954).- Collateral (Michael Mann, 2004).- Cornered (Edward Dmytryk, 1945).-
Criss Cross (Robert Siodmak, 1948).- The Crooked Way (Robert Florey, 1949).-
Crossfire (Edward Dmytryk, 1947).- Cry of the City (Robert Siodmak, 1948).-
The Dark Corner (Henry Hathaway, 1946).- Dark Passage (Delmer Daves, 1947).-
Dead Reckoning (John Cromwell, 1947).- Death of a Cyclist (Javier Bardem,
1955).- Death is a Caress (Edith Carlmar, 1949).- Detour (Edgar G. Ulmer,
1945).- Devil in a Blue Dress (Carl Franklin, 1995).- D.O.A. (Rudolph Maté,
1949).- Double Indemnity (Billy Wilder, 1944).- The Driver (Walter Hill,
1978).- Fallen Angel (Otto Preminger, 1945).- Fear in the Night (Maxwell
Shane, 1947).- Force of Evil (Abraham Polonsky, 1948).- A Foreign Land
(Walter Salles, Brazil).- Get Carter (Mike Hodges, 1971).- Gilda (Charles
Vidor, 1946).- The Glass Key (Stuart Heisler, 1942).- Gun Crazy (Joseph H
Lewis, 1949).- He Ran All the Way (John Berry, 1951).- He Walked By Night
(Alfred Werker, 1949).- High and Low (Akira Kurosawa, 1963).- A History of
Violence (David Cronenberg, 2005).- The Hitch-hiker (Ida Lupino, 1953).- I'll
Sleep When I'm Dead (Mike Hodges, 2003).- In a Lonely Place (Nicholas Ray,
1950).- I Married a Communist (Robert Stevenson, 1949).- I Wake Up Screaming
(H Bruce Humberstone, 1942).- I Walk Alone (Byron Haskin, 1948).- Journey
into Fear (Norman Foster/Orson Welles, 1942).- Le Jour se lčve (Marcel Carné,
1939).- Lift to the Scaffold (Louis Malle, 1957).- The Killers (Robert
Siodmak, 1946).- The Killing (Stanley Kubrick 1956).- Kiss Me Deadly (Robert
Aldrich, 1955).- Kiss of Death (Henry Hathaway, 1947).- LA Confidential
(Curtis Hanson, 1997).- The Lady from Shanghai (Orson Welles, 1947).- The
Lady in the Lake (Robert Montgomery, 1946).- Laura (Otto Preminger, 1944).-
The Long Goodbye (Robert Altman, 1973).- The Lost One (Peter Lorre, 1951).- M
(Fritz Lang, 1931).- Memories of Murder (Joon-ho Bong, 2003).- The Maltese
Falcon (John Huston, 1941).- Mildred Pierce (Michael Curtiz, 1945).-
Mulholland Dr. (David Lynch, 2001).- Murder My Sweet (Edward Dmytryk, 1944).-
The Narrow Margin (Richard Fleischer, 1952).- Night and the City (Jules
Dassin, 1950).- Nightmare Alley (Edmund Goulding, 1947).- Night Moves (Arthur
Penn, 1975).- Odd Man Out (Carol Reed, 1947).- Odds Against Tomorrow (Robert
Wise, 1959).- On Dangerous Ground (Nicholas Ray, 1951).- Out of the Past
(Jacques Tourneur, 1947).- Phantom Lady (Robert Siodmak, 1944).- Pickup on
South Street (Samuel Fuller, 1953).- Pitfall (André de Toth, 1948).- Point
Blank (John Boorman, 1967).- The Postman Always Rings Twice (Tay Garnett,
1946).- Pursued (Raoul Walsh, 1947).- Quai des orfčvres (Henri-Georges
Clouzot, 1947).- The Reckless Moment (Max Ophuls, 1949).- Rififi (Jules
Dassin, 1955).- Scarlet Street (Fritz Lang, 1945).- Shoot the Pianist
(Franēois Truffaut, 1960).- Side Street (Anthony Mann, 1950).- Sin City
(Frank Miller and Roberto Rodriguez, 2005).- Story of a Love Affair
(Michelangelo Antonioni, 1950).- Sunset Boulevard (Billy Wilder, 1950).- Taxi
Driver (Martin Scorsese, 1976).- They Live By Night (Nicholas Ray, 1948).- T
Men (Anthony Mann, 1947).- Touchez pas au grisbi (Jacques Becker, 1953).-
Touch of Evil (Orson Welles, 1958).- Where the Sidewalk Ends (Otto Preminger,
1950).- Notes.- Index.
JIM HILLIER is Visiting Lecturer in the Department of Film and Television Studies at the University of Reading. His publications include American Independent Cinema (2001), The Film Studies Dictionary (2000) and Howard Hawks: American Artist (1996).
ALASTAIR PHILLIPS is Associate Professor in the Department of Film and Television Studies at the University of Warwick. He is the author of Rififi (2008) and the co-editor of Japanese Cinema: Texts and Contexts (2007) and of Journeys of Desire: European Actors in Hollywood (2006).
