James Naremore - More Than Night - Film Noir in Its Contexts

Здесь есть возможность читать онлайн «James Naremore - More Than Night - Film Noir in Its Contexts» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Город: Berkeley and Los Angeles, California, Год выпуска: 1998, ISBN: 1998, Издательство: University of California Press, Жанр: cine, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

  • Название:
    More Than Night: Film Noir in Its Contexts
  • Автор:
  • Издательство:
    University of California Press
  • Жанр:
  • Год:
    1998
  • Город:
    Berkeley and Los Angeles, California
  • ISBN:
    0-520-21293-2
  • Рейтинг книги:
    5 / 5. Голосов: 1
  • Избранное:
    Добавить в избранное
  • Отзывы:
  • Ваша оценка:
    • 100
    • 1
    • 2
    • 3
    • 4
    • 5

More Than Night: Film Noir in Its Contexts: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «More Than Night: Film Noir in Its Contexts»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

"Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s — melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.

More Than Night: Film Noir in Its Contexts — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «More Than Night: Film Noir in Its Contexts», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Carter, Angela. The Sadeian Woman. New York: Pantheon, 1979.

Cawelti, John G. "Chinatown and Generic Transformation in Recent American Films." In Film Theory and Criticism, 2d ed., ed. Gerald Mast and Marshall Cohen, 55979. New York: Oxford University Press, 1979.

Ceplair, Larry, and Stephen Englund. The Inquisition in Hollywood: Politics in the Film Community, 19301960. Garden City, N.Y.: Garden City Press, 1980.

Chandler, Raymond. The Blue Dahlia: A Screenplay, ed. Matthew J. Bruccoli. Carbondale: Southern Illinois University Press, 1976.

. Raymond Chandler: Later Novels and Other Writings. New York: Library of America, 1995.

. Raymond Chandler: Stories and Early Novels. New York: Library of America, 1995.

Chartier, Jean-Pierre. "I es Américains aussi font des films 'noirs." Revue du cinéma 2 (1946): 6770.

Christopher, Nicholas. Somewhere in the Night: Film Noir and the American City. New York: Free Press, 1997.

Compagnon, Antoine. Five Paradoxes of Modernity. Trans. Franklin Phillip. New York: Columbia University Press, 1994.

Coover, Robert. Night at the Movies: Or, You Must Remember This. Normal, 11l.: Dalkey Archive Press, 1997.

Copjec, Joan, ed. Shades of Noir. London: Verso, 1993.

Corrigan, Timothy. A Cinema without Walls. New Brunswick: Rutgers University Press, 1991.

Cotten, Joseph. Vanity Will Get You Somewhere. San Francisco: Mercury House, 1987.

Creed, Barbara. "From Here to Modernity: Feminism and Postmodernism." In A Postmodern Reader, ed. Joseph Natoli and Linda Hutcheon, 398418. Albany: State University of New York Press, 1993.

Cripps, Thomas. Black Film as Genre. Bloomington: Indiana University Press, 1979.

Davis, Mike. City of Quartz: Excavating the Future in Los Angeles. New York: Vintage Books, 1992.

Dawson, Jan. "Robert Airman Speaking." Film Comment (MarchApril 1974): 4041.

DeBona, Guerric. "Into Africa: Orson Welles and Heart of Darkness ." Cinema Journal 33, no. 3 (1994): 1634.

Denning, Michael. The Cultural Front. London: Verso, 1997.

Diawara, Manthia, ed. Black American Cinema. New York: Routledge, 1993.

Dimendberg, Edward. "City of Fear: Defensive Dispersal and the End of Film Noir" Any, no. 18 (1997): 1418.

. Film Noir and the Spaces of Modernity. Forthcoming, Harvard University Press.

. "Kiss the City Goodbye." Lusitania 7 (spring 1996): 5666.

Doane, Mary Anne. "Gilda: Epistemology as Striptease." Camera Obscura, no. 11 (1983): 727.

Doherty, Thomas. Projections of War: Hollywood, American Culture, and World War II. New York: Columbia University Press, 1993.

Durgnat, Raymond. "Paint It Black: The Family Tree of Film Noir." Film Comment (6 November 1974): 67. (Longer version in Cinema, nos. 67 [1970]: 4956; reprinted in Film Noir Reader, ed. Alain Silver and James Ursini, 3751. New York: Limelight Editions, 1996.)

Eliot, T. S. Selected Prose. Harmondsworth: Penguin, 1953.

Elsaesser, Thomas. "A German Ancestry to Film Noir? Film History and Its Imaginary." Iris 21 (spring 1996): 12943.

Farber, Manny. Negative Space. New York: Praeger, 1971.

Farber, Stephen, and Marc Green. Hollywood on the Couch. New York: William Morrow, 1993.

Feng, Peter. "Being Chinese American, Becoming Asian American: Chan Is Missing ." Cinema Journal 35, no. 4 (summer 1996): 88118.

Fiedler, Leslie. Love and Death in the American Novel. New York: Stein and Day, 1966.

Forbes, Jill. "The Série Noir." In France and the Mass Media, ed. Brian Rigby and Nicholas Hewett, 8597. London: Macmillan, 1993.

Foucault, Michel. "What Is an Author?" In Textual Strategies, ed. Josué V. Harari, 14160. Ithaca: Cornell University Press, 1979.

Fox, Terry Curtis. "City Knights." Film Comment 20, no. 5 (October 1984): 3049. (Contains an appendix of supplementary material by Meredith Brody, Marcia Froelke Coburn, David Chute, Richard Gehr, and Jonathan Rosenbaum.)

Frank, Nino. "Un nouveau genre 'policier': L'aventure craminelle." L'Écran français 61 (28 August 1946): 1416.

Friedberg, Anne. Window Shopping: Cinema and the Post-Modern Condition. Berkeley: University of California Press, 1993.

Fussell, Paul. The Great War and Modern Memory. New York: Oxford University Press, 1977.

Genette, Gérard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. Ithaca: Cornell University Press, 1980.

Gifford, Barry. The Devil Thumbs a Ride, and Other Unforgettable Films. New York: Grove Press, 1988.

Greene, Graham. Brighton Rock. New York: Viking Press, 1967.

. A Gun for Sale. New York: Penguin, 1974.

. "The Last Buchan." In Collected Essays. Harmondsworth: Penguin, I970.

. The Ministry of Fear. New York: Penguin, 1978.

. The Pleasure Dome: Collected Film Criticism, 19351940. Ed. John Russell Taylor. New York: Oxford University Press, 1980.

Gross, Miriam, ed. The World of Raymond Chandler. New York: A and W Publishers, 1977.

Guilbaut, Serge. How New York Stole the Idea of Modern Art. Trans. Arthur Goldhammer. Chicago: University of Chicago Press, 1983.

Gunning, Tom. "An Aesthetic of Astonishment." In Viewing Positions: Ways of Seeing Films, ed. Linda Williams, 11433. New Brunswick: Rutgers University Press, 1995.

Hammett, Dashiell. The Big, Knockover. Ed. Lillian Hellman. New York: Vintage, 1972.

. The Continental Op. Ed. Stephen Marcus. New York: Random House, 1974.

. The Glass Key. New York: Vintage, 1972.

. The Maltese Falcon. New York: Vintage, 1972.

. Red Harvest. London: Pan Books, 1975.

. The ThinMan. New York: Vintage, 1972.

Hammond, Paul, ed. The Shadow and Its Shadow: Surrealist Writings on the Cinema. London: BFI, 1978.

Hanson, Patricia King, and Alan Gevinson, eds. American Film Institute Catalog: Feature Films, 19311940. Berkeley: University of California Press, 1993.

Haskell, Molly. Love and Other Infectious Diseases. New York: Morrow, 1990.

Higham, Charles, and Joel Greenberg. Hollywood in the Forties. New York: A. S. Barnes, 1968.

Hilfer, Tony. The Crime Novel: A Deviant Genre. Austin: University of Texas Press, 1990.

Hillier, Jim, ed. Cahiers du Cinema: The 1950s. Cambridge, Mass.: Harvard University Press, 1985.

Hirsch, Foster. The Dark Side of the Screen. New York: A. S. Barnes, 1981.

Hoberman, J. "The Great Whatzit." The Village Voice (15 March 1994): 43.

Hoberman, J., and Jonathan Rosenbaum. Midnight Movies. New York: Harper and Row, 1983.

Hobsbawm, Eric. The Age of Extremes: A History of the World, 19141991. New York: Pantheon, 1994.

Hoopes, Roy. Cain: The Biography of James M. Cain. New York: Holt, Rinehart and Winston, 1982.

Houseman, John. Front and Center. New York: Simon and Schuster, 1979.

Hutcheon, Linda. A Theory of Parody. New York: Methuen, 1985.

Huyssen, Andreas. After the Great Divide. Bloomington: Indiana University Press, 1986.

Jacobs, Lea. "The B Film and the Problem of Cultural Distinction." Screen 33, no. 1 (spring 1992): 113.

Jacoby, Russell. The Repression of Psychoanalysis. New York: Basic Books, 1983.

Jameson, Fredric. "On Raymond Chandler." The Southern Review 6 (1970): 62450.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «More Than Night: Film Noir in Its Contexts»

Представляем Вашему вниманию похожие книги на «More Than Night: Film Noir in Its Contexts» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «More Than Night: Film Noir in Its Contexts»

Обсуждение, отзывы о книге «More Than Night: Film Noir in Its Contexts» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x