PDF FREE [Film Noir]

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  1. says: PDF FREE [Film Noir] Andrew Spicer ï 0 review

    PDF FREE [Film Noir] a very good introduction to film noir thin but full with information good historical background some of the bes

  2. says: Read Film Noir Andrew Spicer ï 0 review Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer

    PDF FREE [Film Noir] review of Andrew Spicer's Film Noir by tENTATIVELY a cONVENIENCE December 11 15 2018 For the complete review go here anyone had asked me what Film Noir movies are before I read this bk I might've said something like 'Black white crim

  3. says: PDF FREE [Film Noir] Andrew Spicer ï 0 review

    PDF FREE [Film Noir] Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer Written much like a paper for a scholarly journal this book gives an almost scientific approach to the field of Film Noir

  4. says: PDF FREE [Film Noir]

    Read Film Noir Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer Andrew Spicer ï 0 review Great textbook to have on hand especially re the history of film noir and its critics and academics although it

  5. says: PDF FREE [Film Noir]

    Read Film Noir PDF FREE [Film Noir] Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer i didn't read the whole thing its a pretty dry textbook like take on film noir very informative but not much fun to read unless you are really into film noir read it for a class and it's a lot easier if you already know the movies they are talking about

  6. says: Read Film Noir Andrew Spicer ï 0 review PDF FREE [Film Noir]

    Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer Andrew Spicer ï 0 review Read Film Noir Good information but a little too wordy Overexplains things A bit too academic It reads like a text book

  7. says: PDF FREE [Film Noir]

    Free read Ì PDF, DOC, TXT or eBook ï Andrew Spicer Andrew Spicer ï 0 review Read Film Noir Great book as a companion to Film Noir class Great films mentioned in depth

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Film Noir Read & Download · PDF, DOC, TXT or eBook Xts of production and reception its visual style and its narrative patterns and themes A fourth chapters looks at character types and star performances to elucidate noir's complex construction of gender with its weak ambivalent males and predatory femmes fatales Another chapter provides a detailed analysis of three noir auteurs Anthony Mann Robert Siodmak and Fritz LangThree chapters investigate 'neo noir' and British film noir These chapters trace the complex evolution of 'neo noir' in American cinema from the modernist critiues of Night Moves and Taxi Driver to the postmodern hybridity of contemporary noir including Seven. Great textbook to have on hand especially re the history of film noir and its critics and academics although it s a little dry The examples which make up at least half the book s length might be a bit too wordy if you don t need one and things are generally explained so well that you shouldn t andor aren t interested in the film detailed

Free read Ì PDF, DOC, TXT or eBook ï Andrew SpicerFilm Noir

Film Noir Read & Download · PDF, DOC, TXT or eBook Pulp Fiction and Memento while the final chapter surveys the development of British film noir a significant and virtually unknown cinema stretching from the thirties to Mike Hodges' CroupierFilms discussed include both little known examples and seminal works such as Double Indemnity Scarlet Street Kiss Me Deadly and Touch of Evil A final section provides a guide to further reading an extensive bibliography and a list of over 500 films referred to in the text Lucidly written Film Noir is an accessible informative and stimulating introduction that will have a broad appeal to undergraduates cineastes film teachers and researche. Good information but a little too wordy Overexplains things A bit too academic It reads like a text book

Andrew Spicer ï 0 review

Film Noir Read & Download · PDF, DOC, TXT or eBook Film Noir is an overview of an often celebrated but also contested body of films It discusses film noir as a cultural phenomenon whose history is extensive and diverse than American black and white crime thrillers of the fortiesAn extended background chapter situates film noir within its cultural context describing its origin in German Expressionism French Poetic Realism and in developments within American genres the gangstercrime thriller horror and the Gothic romance and its possible relationship to changes in American societyFive chapters are devoted to 'classic' film noir 1940 59 Three of these chapters explore its conte. review of Andrew Spicer s Film Noir by tENTATIVELY a cONVENIENCE December 11 15 2018 For the complete review go here anyone had asked me what Film Noir movies are before I read this bk I might ve said something like Black white crime movies from the 1940s 1950s with dramatic lighting an emphasis on the psychological contrasts between poverty luxury femme fatales brutal men but I wdn t ve been satisfied w my definition I read this bk not only bc I like the films but also to access a articulate knowledgable POV Any study of film noir however objective has to engage with what could be called noir myth that film noir is uintessentially those black and white 1940s films bathed in deep shadows which offered a dark mirror to American society and uestioned the fundamental optimism of the American dream There is as with any myth a great deal of truth to this image but film noir needs to be understood as a cultural phenomenon which is much historically extensive complex and diverse Although the present study gives due weight to the range of formal devices that often mark out film noir its arrested visual and aural style and its complex modes of narration it argues that film noir cannot be understood simply as a set of textual conventions which reflected a wider social malaise p vii As a side effect of reading this bk I started checking movies mentioned out of the public library have watched generally one movie a day w still uite a few to go that I haven t gotten to yet So far I ve gotten thru Road Ends The Glass Shield In Too Deep Malevolent A Rage in Harlem Kiss Tomorrow Goodbye The House on 92nd Street The Woman in the Window The Dark Corner Pickup on South Street The Chase Kiss of Death Laura Out of the Past The Enforcer Border Incident The Two Mrs Carrolls Point Blank Klute The Killer Inside Me The Spiral Staircase Odd Man Out Body Heat others I wdn t necessarily call all the movies listed above Noir I might even exclude the 1st 5 but at least 2 of those 5 are listed in Film Noir In some cases reading about the directors got me interested in witnessing non noir work by them so I got out Anthony Mann s Winchester 73 a western too After experiencing so many noirs I felt myself beginning to prefer the American dream to its dark mirror Even though I m probably considerably critical of societal public relations myths than others there s only so much despair torment even in fictional depictions that I can take Let s get back to figuring out what film noir is The present study following James Nare 1998 argues that film noir is an imprecise but necessary cultural category which helps to make sense of a complex phenomenon As my primary purpose is to give a broad overview Film Noir is as inclusive as possible exploring both the classical period 1940 1959 and also neo noir p vii Despite this inclusivity Kiss Tomorrow Goodbye one I wd ve probably included is missing Clearly groping for the most appropriate label for these films American reviewers most freuently called them psychological thrillers a term that the film industry itself employed p 1 The origins of the label film noir have been traced to the French film critic Nino Frank who used the term in response to the release of four crime thrillers The Maltese Falcon 1941 Murder My Sweet UK title Farewell My Lovely 1944 Double Indemnity 1944 and Laura 1944 in Paris in August 1946 Film noir was employed through its analogy with s rie noire the label given to French translations of American hard boiled fiction from which several of these films had been adapted p 2 Now I feel like we re getting somewhere What s a literal translation of these 2 French terms film noir dark movie s rie noire black seuence Even people who re as poorly familiar w French as myself will probably immediately notice problems in the translations Given that noire is just the feminine form that noir is the masculine one that means that both can mean either black or dark However the blackness the darkness are psychological than physical w the meaning of black or dark as a psychological term being dangerous or disturbed something implied by than communicated by the translation Further s rie is probably meant to mean something closer to the obvious publishing series or genre flm noir remains a contested term a point that will be explored in the concluding section of this chapter p 4 in addition to problems about which films constitute the noir canon many of the elements that are used to define film noir in particular treatment of gender and sexuality its devices of flashback and voice over narration its concentration on abnormal psychological states and its visual style can all be found in comtemporaneous films that are not classified as noir p 25 That last uote is from the concluding section of the chapter Even w this scholarly analysis I was left w a feeling of the amorphousness of the term As such perhaps Film Noir is useless as anything but a vague category my initial definition is as good as any other The section entitled CULTURAL INFLUENCES starts off the Hard Boiled Crime Fiction w a uote from Dashiell Hammett s Red Harvest 1929 possibly my favorite bk by him I first heard Personville called Poisonwille by a red haired mucker named Hickey Dewey in the Big Ship at Butte He also called a shirt a shoit I didn t think anything of what he had done to the city s name Later I heard men who couldn t manage their r s give it the same pronunciation I still didn t see anything in it but the meaningless sort of humour that used to make richardsnary the thieves word for dictionary A few years later I went to Personville and learned better p 5 My meager review of Red Harvest is here The work of the American hard boiled writers such as Dashiell Hammett Raymond Chandler and James M Cain was freuently used as the basis for films noirs almost 20 per cent of noir thrillers produced between 1941 and 1948 were direct adaptations of hard boiled novels and short stories p 5 In William Luhr s bk Raymond Chandler Film he lists 10 based on Chandler alone The Falcon Takes Over 1942 Time to Kill 1942 Murder My Sweet 1944 The Big Sleep 1946 Lady in the Lake 1947 The Brasher Doubloon 1947 Marlowe 1969 The Long Goodbye 1973 Farewell My Lovely 1975 The Big Sleep 1978 Spicer makes the claim that Pulp fiction s readership was largely the male urban working class who enjoyed the fast paced violence and eroticism p 6 I assume that that claim is based on reliable statistics It seems that something like that wdn t hold true today I find it hard to believe that the majority of today s male urban working class reads at all Instead there s TV I wonder if there re any statistics that the male urban working class are now considerably less intelligent critical as a result Film Noir is a conventional academic study As such the language is straight forward functional not really that interesting to read as writing itself It breaks the history into periods types lists a substantial amt of movies The indexes bibliographies at the end alone are worth it I learned from it Lewton s first film Cat People 1942 was a supernatural chiller the third The Leopard Man 1943 was adapted from Woolrich s Black Alibi in which a deranged serial killer distracts attention by casting suspicion on the activities of an escaped leopard Perhaps the most atmospheric subtly suggestive and chilling film was the fourth The Seventh Victim 1943 p 17 Films noirs are littered with maladjusted veterans the product of the difficult and traumatic readjustment to peace and civilian life after a period of severe disruption and the dangers and excitements of active service Like other extended conflicts the Second World War had profound psychological effects upon its combatants often making their reintegration into civilian society difficult or impossible The problem of the psychoneurotic vet who had been traumatized by his wartime experiences and whose unpredictable violence instability and aimlessness made him unsuited for civilian life was well documented He often became disillusioned by returning to his mundane prewar occupation after becoming used to both action and command p 20 of course this is a problem that s plagued humanity throughout our existence Take the Vietnam War the war that was never even declared an official war take the Agent Orange casualties that the government didn t even acknowledge until after 13 yrs of lawsuit or take the problem of soldier addiction to heroin that the US goverment will probably never acknowledge culpability in connection w even tho the heroin business was created by them to fund their adjacent secret wars that s not even mentioning the millions senselessly murdered or the people subjected to torture both by the Viet Cong AND by the US All this hell brought on by human ambition of the most sordid sort Will humanity ever evolve out of its own shit I d like to think it s possible As with its use of existentialism film noir s use of psychoanalysis does not represent a detached and in depth understanding of psychoanalysis per se but rather an acute sense of its potential to add depth to the conventions of blood melodrama p 23 Indeed that s likely to be the case w any popular art form Things are used as allusions as imagery as evocations any actual analytical substance is likely to alienate a mass vaudience The federal goverment s efforts to regulate the film industry closely and eliminate its oligopolistic practices culminated in the Supreme Court s ruling against the majors in May 1948 known as the Paramount Decree because Paramount was the first major named in the case The ruling ended the practice of block booking and terminated vertical integration the majors had to separate divorce their exhibition from their distribution and production arms and were expected gradually to sell off their cinema circuits p 32 It seems to me that such oligopolistic practices have found their way around the laws by now or the laws have changed These days if a theater wants to undergo the very expensive conversion process to become a multiplex carry the latest digital high definition streamed product the majors will fund the whole process under the condition that they completely control what s screened or so I ve been told by people connected to a once independent theater that s now under major control A little online research revealed that in August 2018 the Paramount Decree was to be reviewed by the Dept of Justice w an eye toward removing it Alas I was unable to find whether anything has actually happened w that despite the review taking place 4 mnths ago Much of what I found in Film Noir aroused my curiousity to do further research Many independent producers turned to film noir as a way of providing cost effective but sophisticated entertainment Enterprise Productions founded by David Lowe was an idealistic left liberal concern that tried to foster a communal ethos and encourage film makers who were critical of the establishment It was the home for Robert Rossen s Body and Soul 1947 and Abraham Polonsky s Force of Evil 1948 starring John Garfield and Max Ophuls s Caught 1949 before folding through commerical pressures Arnold and Miller 1986 pp9 12 Diana Productions was individualistic formed in 1945 through the coming together of Walter Wanger already established as an independent producer one of Hollywood s leading ladies Joan Bennett Wagner s wife and migr director Fritz Lang p 34 Note that Spicer includes the source for his information immediately after its presentation win the paragraph rather than necessarily as an endnote although he does that too I find that preferable It s interesting to me to have the distinctions of censorship articulated Because films were exhibited to such a broad public including the unsophisticated and the impressionable they were not allowed the same freedom of expression as literature theatre or the press p 36 The Production Code s three General Principles attempted to ensure that films showed correct standards of life including the injunction that crime must never go unpunished while its numerous Particular Applications closely regulated the ways in which sex and violence might be depicted Adultery and illicit sex could not be explicitly treated nor justified nor could lustful embraces be shown and nudity was expressly forbidden In addition to proscribing any sympathy for the criminal the Code also refused to allow the detailed and explicit depiction of criminal methods In sum the Code was an attempt to make films promote home and family values and uphold American legal political and religious institutions and acted as a determining force on the construction of narrative and the delineation of character in every studio produced film after 1931 p 37 My how things have changed These battles over what was permissable raged throughout the immediate post war period but became sporadic in the 1950s especially after the decision of the Supreme Court in May 1952 that films were a significant medium for the communication of ideas and therefore subject to the same safeguards as the press under the First Amendment to the Constitution which guaranteed freedom p 39 During the 1930s Hollywood films played to an average weekly attendance of between 50 and 60 million Admissions increased significantly during the war years rising to a peak of 84 million in 1944 Thereafter there was a significant decline until 1950 when the prewar level of 55 million was reached Audiences declined sharply after this point and despite a brief upsurge in the mid 1950s had fallen to 32 million admissions per week by 1959 p 40 I attribute this of course to TV Obviously the industry has tried to adapt to present day circumstances so where are we now Movie theater attendance in the US and Canada in 2017 fell to its lowest point since at least 1992 Bloomberg reports Box Office Mojo estimates around 124 billion tickets were sold a drop off of 58 percent from the previous year Even with higher ticket prices domestic revenue also dropped 27 percent from last year from 114 billion to 111 billion The graph shows a steady percentage below 10% of the US population that averaged going to the movies weekly since around 1964 But before that point in time there was still a good amount of people going to the movies In 1930 than 65% of the population went to the movies weekly That means that for every 5 people you knew 3 of them went to the movies weekly Can you even imagine that More than two thirds 71% of the USCanada population or 246 million people went to the cinema at least once in 2016 a two percent increase from 2015 Freuent moviegoers individuals who go to the cinema once a month or continue to drive the movie industry accounting for 48 percent of all tickets sold in the United States and Canada As a moviemaker as a person who appreciates movie theaters I m rooting for movie attendance to continue to be strong Unfortunately the kind of movies I like the most the kind I make seem to have fewer screening opportunities than ever Richard Maltby has argued that even if censorship regulations were loosening there was a postwar climate of concern about the effects of Hollywood films on audiences Maltby 1993 pp39 48 Films noirs were often attacked in some uarters for their absolute lack of moral energy their listless fatalistic despair uoted in ibid p41 As discussed in Chapter 1 such films were deemed to be irresponsible and pernicious by a section of the intelligentsia These anxious liberals deprecated film noir as a low status product playing predominantly to the bottom end of the urban market which reformers liberal or otherwise always worried about most ibid p 46 Film noir even if not named as such was being polemically interpreted as the symptom of a sick society by an intelligentsia that was hostile to subversive popular culture p 42 Even though Kiss Tomorrow Goodbye isn t in Spicer s bk my review of the bk version of it in relation to its movie adaption is relevant Budlong a skinny sickly sodomist turned on his side facing me and said in a ruttish voice I had another dream about you last night sugar It will be your last you Caresser of Calves I thought Was it as nice as the others I asked Nicer he said You re sweet I adore you I said feeling a fine fast exhiliration that today was the day that I was going to kill him that I was finally going to kill him p 5 That s not in the movie It cd be these days In the movie Holiday the woman who s arranged for her brother to escape from prison w the narrator s help covers their escape wearing men s clothes shooting a rifle In the bk it s a machine gun That s much the weapon of a killer In the movie Holiday is of an innocent trying to free a brother that she thinks is innocent In the bk That was pretty good I said Wearing a man s suit She smiled at me unbuckling her trousers but not unbuttoning the fly slipping them off arching her shoulders against the back seat to raise her buttocks out of the way Her legs were slim and white I could see the skin in the minutest detail the pigments and pores and numberless valley cracks that criss crossed above her knees forming patterns that were as lovely and intricate as snow crsytals And there was something else I saw too out of the corner of my left eye and I tried not to look not because I didn t want to not because of modesty but only because when you had waited as long as I had to see one of these you want it to reveal itself at full length sostenuto I tried not to look but I did look and there it was the Atlantis the Route to Cathay the Seven Cities of Cibola p 23 In other words her cunt On the narrator s 1st trip to Holiday s apartment For the complete review go here

  • Paperback
  • 272
  • Film Noir
  • Andrew Spicer
  • English
  • 08 August 2020
  • 9780582437128