Film noir: light and shadow
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Milwaukee, WI
Applause Theatre and Cinema Books, an imprint of Hal Leonard LLC
[2017]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | 352 Seiten 26 cm |
| ISBN: | 9781495058974 1495058972 |
Internformat
MARC
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Datensatz im Suchindex
| _version_ | 1804177446545653760 |
|---|---|
| adam_text | CONTENTS
Acknowledgments 7
Introduction 8
Alain Silver
Some Visual Motifs of Film Noir 1 2
Janey A. Place Lowell S. Peterson
The Gangster and Film Noir 26
Alain Silver
The Noir Title Sequence: Evolution of Style 64
Robert G. Porfirio
Rooms like Reveries: Interiors and Interiority in Film Noir 76
Imogen Sara Smith
Women’s Song and Dance Performances in Film Noir 88
Christophe Geliy and Delphine Letort
The Long Take and the Sequence Shot in Film Noir 102
Alain Silver
The Sequence Shot: Spatial and Temporal Articulations in The Killers 1 30
Robert G. Porfirio
“A gray web woven by a thousand spiders”: Dream Sequence Construction in Film Noir 1 32
Marlisa Santos
Hollywood Noir: Scripting the Death of Romance in Sunset Boulevard (1950)
and In a Lonely Place (1950) 1 52
Robert Miklitsch
Stranger on the Third Floor (1940) 1 72
R. Barton Palmer
5.
6.
Filrrj Noir Light ai)d Shadow
Welles, Toland, Aldrich, and Baroque Noir Expressionism 182
Tony Williams
Double Indemnity. A Shadowy Exemplar of Film Noir Visual Style 210
Sheri Chinen Biesen
Fragments of the Mirror: Hitchcock’s Noir Landscape 218
Alain Silver
Realism, Expressionism, Style: The Unsuspected (1947) and The Big Clock (]948) 244
Robert G. Porfirio
Crossfire and Homeland Insecurity 256
Homer B. Pettey
Ida Lupino’s Television Noir 272
Julie Grossman
In the Dark: The Noir Visual Style of Russell Metty 282
Ronald W. Wilson
Nothingness and Purpose: Light and Shadow in It s a Wonderful Life 294
Todd Erickson
“The Dynamism of Violent Death”: Lighting, Censorship, and Violence in Film Noir 308
Jesse Schlotterbeck
Nine Elements of Style in Kiss Me Deadly 316
Alain Silver
“We Couldn’t Always Stay in the Dark”: Stylistic Innovation in Richard Fleischer’s
Violent Saturday 328
William Covey
Inscribing Film Noir s Epitaph: Self-Consciousness and Visual Punning in Orson Welles s
Touch of Evil 338
Richard L. Edwards
Notes on Contributors
348
Film Noir Light and Shadow is a new anthology from editors
Alain Silver and James Ursini, longtime expert commentators
on all aspects of the noir movement. This book focuses or» the
visual style of the classic period through essays that consider
individual films, directors, elements of style, or subgroups of
movies within the movement. All are sharply focused on what
makes the noir phenomenon unique in American motion picture
history.
In addition to updated versions of key articles by the editors
and their late colleague Robert Porfirio, there are fourteen
original essays, most of them from contributors who have written
and/or edited their own books on the subject: Cheri Chinen
Biesen, Richard Edwards, Christophe Geliy, Julie Grossman,
Delphine Letort, Robert Miklitsch, R. Barton Palmer, Homer
Pettey, Marlisa Santos, Imogen Sara Smith, Tony Williams, and
Ronald Wilson.
As befits the topic, 750 illustrations keyed to the text capture
the richness and breadth of the classic period’s imagery.
|
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| title | Film noir light and shadow |
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| title_auth | Film noir light and shadow |
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