Dark Borders: Film Noir and American Citizenship
Dark Borders connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. natio...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2011]
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| Schlagworte: | |
| Online-Zugang: | DE-1043 DE-1046 DE-859 DE-860 DE-473 DE-739 DE-858 Volltext |
| Zusammenfassung: | Dark Borders connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. national security measures enacted from the mid-1930s to the mid-1950s. The growth of a domestic intelligence-gathering apparatus before, during, and after the Second World War raised unsettling questions about who was American and who was not, and how to tell the difference. Auerbach shows how politics and aesthetics merge in these noirs, whose oft-noted uncanniness betrays the fear that "un-American" foes lurk within the homeland. This tone of dispossession was reflected in well-known films, including Double Indemnity, Out of the Past, and Pickup on South Street, and less familiar noirs such as Stranger on the Third Floor, The Chase, and Ride the Pink Horse. Whether tracing the consequences of the Gestapo in America, or the uncertain borderlines that separate the United States from Cuba and Mexico, these movies blur boundaries; inside and outside become confused as (presumed) foreigners take over domestic space. To feel like a stranger in your own home: this is the peculiar affective condition of citizenship intensified by wartime and Cold War security measures, as well as a primary mood driving many midcentury noir films |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (279 pages) 24 photographs |
| ISBN: | 9780822394129 |
| DOI: | 10.1515/9780822394129 |
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| 520 | |a Dark Borders connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. national security measures enacted from the mid-1930s to the mid-1950s. The growth of a domestic intelligence-gathering apparatus before, during, and after the Second World War raised unsettling questions about who was American and who was not, and how to tell the difference. Auerbach shows how politics and aesthetics merge in these noirs, whose oft-noted uncanniness betrays the fear that "un-American" foes lurk within the homeland. This tone of dispossession was reflected in well-known films, including Double Indemnity, Out of the Past, and Pickup on South Street, and less familiar noirs such as Stranger on the Third Floor, The Chase, and Ride the Pink Horse. Whether tracing the consequences of the Gestapo in America, or the uncertain borderlines that separate the United States from Cuba and Mexico, these movies blur boundaries; inside and outside become confused as (presumed) foreigners take over domestic space. To feel like a stranger in your own home: this is the peculiar affective condition of citizenship intensified by wartime and Cold War security measures, as well as a primary mood driving many midcentury noir films | ||
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| isbn | 9780822394129 |
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| spelling | Auerbach, Jonathan Verfasser aut Dark Borders Film Noir and American Citizenship Jonathan Auerbach Durham Duke University Press [2011] © 2011 1 online resource (279 pages) 24 photographs txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) Dark Borders connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. national security measures enacted from the mid-1930s to the mid-1950s. The growth of a domestic intelligence-gathering apparatus before, during, and after the Second World War raised unsettling questions about who was American and who was not, and how to tell the difference. Auerbach shows how politics and aesthetics merge in these noirs, whose oft-noted uncanniness betrays the fear that "un-American" foes lurk within the homeland. This tone of dispossession was reflected in well-known films, including Double Indemnity, Out of the Past, and Pickup on South Street, and less familiar noirs such as Stranger on the Third Floor, The Chase, and Ride the Pink Horse. Whether tracing the consequences of the Gestapo in America, or the uncertain borderlines that separate the United States from Cuba and Mexico, these movies blur boundaries; inside and outside become confused as (presumed) foreigners take over domestic space. To feel like a stranger in your own home: this is the peculiar affective condition of citizenship intensified by wartime and Cold War security measures, as well as a primary mood driving many midcentury noir films In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh Film noir United States History and criticism Motion pictures United States History https://doi.org/10.1515/9780822394129 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Auerbach, Jonathan Dark Borders Film Noir and American Citizenship PERFORMING ARTS / Film & Video / History & Criticism bisacsh Film noir United States History and criticism Motion pictures United States History |
| title | Dark Borders Film Noir and American Citizenship |
| title_auth | Dark Borders Film Noir and American Citizenship |
| title_exact_search | Dark Borders Film Noir and American Citizenship |
| title_exact_search_txtP | Dark Borders Film Noir and American Citizenship |
| title_full | Dark Borders Film Noir and American Citizenship Jonathan Auerbach |
| title_fullStr | Dark Borders Film Noir and American Citizenship Jonathan Auerbach |
| title_full_unstemmed | Dark Borders Film Noir and American Citizenship Jonathan Auerbach |
| title_short | Dark Borders |
| title_sort | dark borders film noir and american citizenship |
| title_sub | Film Noir and American Citizenship |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh Film noir United States History and criticism Motion pictures United States History |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism Film noir United States History and criticism Motion pictures United States History |
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