Noir fiction and film: diversions and misdirections
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Oxford University Press
2021
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| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | viii, 243 Seiten Illustrationen (schwarz-weiß) |
| ISBN: | 9780192844767 |
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Datensatz im Suchindex
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| adam_text | Table of Contents List of Illustrations Prologue: Procrastinating Plots and Commonplace Pleasures ix 1 1. Hard-Boiled Intimations 1. Black Mask Beginnings 2. Descriptive Divergences and an Attitude 3. A Question of Identity 4. Conclusion 9 12 20 29 31 2. Descriptive Digressions 1. Hammett’s Window Dressings 2. Chandler’s Furniture 3. Macdonald’s Haunted Landscapes 4. Diversion as Play: Crumley, Willeford, Leonard 5. Authenticity in Diversion: Grafton, Himes, Stark, Perry 6. Conclusion 33 37 46 53 58 63 71 3. Dialogue Scaffoldings 1. Sardonic Sam Spade 2. Figurative Philip Marlowe 3. Chameleon Lew Archer 4. Other Voices 5. Connelly, Leonard, Child 6. Conclusion 73 75 77 82 86 92 97 4. Lost Identities 1. Ludlum, Forgetting Oneself 2. Eisler, Remaining Invisible 3. Child, Off the Grid 4. Perry, Disappearing Act 5. Conclusion 99 104 108 111 118 122 5. Sequel Reminders 1. Stark, Backing and Filling 2. Eisler, Growing Up and Away 3. Perry, Retrospective and Uncertain 4. Connelly, Cross-Woven and Out of Sequence 5. Conclusion 125 130 132 136 139 144
viii TABLE OF CONTENTS 6. Cinematic Resolutions 1. Aimless Gazes 2. Sonic Diversions 3. Curious Demeanors 4. Sinister Cameras 5. Femmes Non-Fatales 6. Conclusion 146 148 160 167 174 183 186 7. Beyond Authenticity 1. Loose Ends 2. Dreams and Faked Authenticity 3. Performance and Close-Ups 4. Silence and Rumblings 5. Conclusion 188 193 198 206 212 215 Epilogue: “If They Had Been Better” Bibliography Index 218 225 237
NOIR ПСІ ION ձ. ПІЛ I Tne argument of Nor Fonen coo Fór ¡s cuì^ous!y countenntuFve; that .·՝, a centam of hard-boiled fiction and detective films, cnaractensfics tnat at ՜-՜տէ seemed tnwal swellec In · importance. flourishing into crucci aspects of toe senne. Among these are aimless descriptions of people and places irrelevant to ofot, along vote detectues consot-ng of fttle more tnan sparkling d alogue ana Appart att tudes. VVnat eaves togetner sued features, however seems to oe a paradox: tnat a genre rooted in solung a mvstery. structured around we ganenng of dues, must do so by misduectng our attention, even w itnbO G:ng rn ormation we think we need to generate tne suspense we also cesue. Yet successful nom stores and films enhance that suspense through passmg diversens (descmptve deta Is and eccentric perspectives) rather mam՛ depending on tne cemerpeces of plot alone (suspected motives or ¡no՜ mmatihg traces). As tne greatest practitioners of the genre have reamed, tne how of detective fiction (l+s stylistic detoimsì draws us in more ns stent՛.՛ tnan tne what orthe who (its linear advance). And the achievement of meent film non՝ is to make tnat how become the tantaliz,ng object of our entire attention, shorn of any pretense of reading fortne plot, immers ng L.S in we diversionary delight tnat has animated the genre from tne begun ¡-g.
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| adam_txt |
Table of Contents List of Illustrations Prologue: Procrastinating Plots and Commonplace Pleasures ix 1 1. Hard-Boiled Intimations 1. Black Mask Beginnings 2. Descriptive Divergences and an Attitude 3. A Question of Identity 4. Conclusion 9 12 20 29 31 2. Descriptive Digressions 1. Hammett’s Window Dressings 2. Chandler’s Furniture 3. Macdonald’s Haunted Landscapes 4. Diversion as Play: Crumley, Willeford, Leonard 5. Authenticity in Diversion: Grafton, Himes, Stark, Perry 6. Conclusion 33 37 46 53 58 63 71 3. Dialogue Scaffoldings 1. Sardonic Sam Spade 2. Figurative Philip Marlowe 3. Chameleon Lew Archer 4. Other Voices 5. Connelly, Leonard, Child 6. Conclusion 73 75 77 82 86 92 97 4. Lost Identities 1. Ludlum, Forgetting Oneself 2. Eisler, Remaining Invisible 3. Child, Off the Grid 4. Perry, Disappearing Act 5. Conclusion 99 104 108 111 118 122 5. Sequel Reminders 1. Stark, Backing and Filling 2. Eisler, Growing Up and Away 3. Perry, Retrospective and Uncertain 4. Connelly, Cross-Woven and Out of Sequence 5. Conclusion 125 130 132 136 139 144
viii TABLE OF CONTENTS 6. Cinematic Resolutions 1. Aimless Gazes 2. Sonic Diversions 3. Curious Demeanors 4. Sinister Cameras 5. Femmes Non-Fatales 6. Conclusion 146 148 160 167 174 183 186 7. Beyond Authenticity 1. Loose Ends 2. Dreams and Faked Authenticity 3. Performance and Close-Ups 4. Silence and Rumblings 5. Conclusion 188 193 198 206 212 215 Epilogue: “If They Had Been Better” Bibliography Index 218 225 237
NOIR ПСІ ION ձ. ПІЛ I Tne argument of Nor Fonen coo Fór ¡s cuì^ous!y countenntuFve; that .·՝, a centam of hard-boiled fiction and detective films, cnaractensfics tnat at ՜-՜տէ seemed tnwal swellec In · importance. flourishing into crucci aspects of toe senne. Among these are aimless descriptions of people and places irrelevant to ofot, along vote detectues consot-ng of fttle more tnan sparkling d alogue ana Appart att tudes. VVnat eaves togetner sued features, however seems to oe a paradox: tnat a genre rooted in solung a mvstery. structured around we ganenng of dues, must do so by misduectng our attention, even w itnbO'G:ng rn'ormation we think we need to generate tne suspense we also cesue. Yet successful nom stores and films enhance that suspense through passmg diversens (descmptve deta Is and eccentric perspectives) rather "mam՛ depending on tne cemerpeces of plot alone (suspected motives or ¡no՜ mmatihg traces). As tne greatest practitioners of the genre have reamed, tne "how" of detective fiction (l+s stylistic detoimsì draws us in more ns stent՛.՛ tnan tne "what" orthe "who" (its linear advance). And the achievement of meent film non՝ is to make tnat "how" become the tantaliz,ng object of our entire attention, shorn of any pretense of reading fortne plot, immers ng L.S in we diversionary delight tnat has animated the genre from tne begun ¡-g. |
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| edition | First edition |
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| spelling | Mitchell, Lee Clark 1947- Verfasser (DE-588)143085301 aut Noir fiction and film diversions and misdirections Lee Clark Mitchell Noir fiction & film First edition Oxford Oxford University Press 2021 viii, 243 Seiten Illustrationen (schwarz-weiß) txt rdacontent n rdamedia nc rdacarrier Film noir (DE-588)4116435-0 gnd rswk-swf Roman noir (DE-588)1069085138 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf USA (DE-588)4078704-7 g Roman noir (DE-588)1069085138 s Film noir (DE-588)4116435-0 s DE-604 Erscheint auch als Online-Ausgabe 978-0-19-193333-2 (DE-604)BV048993753 Erscheint auch als Online-Ausgabe 978-0-19-265915-6 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033012540&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033012540&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Mitchell, Lee Clark 1947- Noir fiction and film diversions and misdirections Film noir (DE-588)4116435-0 gnd Roman noir (DE-588)1069085138 gnd |
| subject_GND | (DE-588)4116435-0 (DE-588)1069085138 (DE-588)4078704-7 |
| title | Noir fiction and film diversions and misdirections |
| title_alt | Noir fiction & film |
| title_auth | Noir fiction and film diversions and misdirections |
| title_exact_search | Noir fiction and film diversions and misdirections |
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| title_full | Noir fiction and film diversions and misdirections Lee Clark Mitchell |
| title_fullStr | Noir fiction and film diversions and misdirections Lee Clark Mitchell |
| title_full_unstemmed | Noir fiction and film diversions and misdirections Lee Clark Mitchell |
| title_short | Noir fiction and film |
| title_sort | noir fiction and film diversions and misdirections |
| title_sub | diversions and misdirections |
| topic | Film noir (DE-588)4116435-0 gnd Roman noir (DE-588)1069085138 gnd |
| topic_facet | Film noir Roman noir USA |
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