Classic French Noir :: Gender and the Cinema of Fatal Desire.
"French film noir has long been seen as a phenomenon distinct from its Hollywood counterpart. This book - an innovative departure from conventional noir scholarship - now adopts a biocultural approach to exploring the French genre through the years 1941-1959. Chapters reveal noir as a product o...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London :
I.B. Tauris & Company, Limited,
2018.
|
| Schriftenreihe: | International Library of the Moving Image Ser.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "French film noir has long been seen as a phenomenon distinct from its Hollywood counterpart. This book - an innovative departure from conventional noir scholarship - now adopts a biocultural approach to exploring the French genre through the years 1941-1959. Chapters reveal noir as a product of the social and cultural factors at play in occupied, liberated and post-war France: marked by malaise at military defeat, Nazi collaboration and the impact of industrialisation. Furthermore, the book uncovers the evolutionary mechanisms of sexuality and reproduction beneath the national context that drive gendered behaviour on screen."-- |
| Beschreibung: | 10. Love and Money: Gender and Consumption in Gangster Noir |
| Beschreibung: | 1 online resource (289 pages). |
| ISBN: | 9781786725189 1786725185 9781786735188 1786735180 |
Internformat
MARC
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| 100 | 1 | |a Walker-Morrison, Deborah. | |
| 245 | 1 | 0 | |a Classic French Noir : |b Gender and the Cinema of Fatal Desire. |
| 260 | |a London : |b I.B. Tauris & Company, Limited, |c 2018. | ||
| 300 | |a 1 online resource (289 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; Author Biography; Title Page; Copyright; Contents; List of Illustrations; Acknowledgements; PART I. SETTING THE SCENE; 1. Introduction; Defining film noir; Corpus; French and American film noir: historical links; Sociological theory; Constructivism and psychoanalysis; Biocultural approaches; Evolutionary psychology; The biocultural turn in evolutionary science; A biocultural approach to gender: similarity and difference; The cinema of fatal desire; 2. Fatal(e) Desire in French Poetic Realism; Introduction: poetic realism as proto-noir; Gendered figures in poetic realism | |
| 505 | 8 | |a Star-crossed lovers: the tragic hero and French fatale as fatalitaireConclusion; PART II. THE LONG SHADOW OF WAR; 3. Looking for the Light; Introduction: invasion, occupation, collaboration; A cinema of paradox; Les Années noires and crime drama; Liberation crime drama and the myth of the Resistance; Le réalisme noir and flawed masculinity; Conclusion; 4. Too Many Women? War and Fatal(e) Desire; Introduction; Classic American femme fatale as spider woman; French fatale: 'Cherchez la femme'; War, demographics and assertive femininity: sex ratio theory; Conclusion; PART III CHERCHEZ LA FEMME | |
| 505 | 8 | |a 5. Fatal(e) Passions: Tragic Fatalitaires and Star-Crossed LoversIntroduction: passionate love as universal human adaptation; Love styles; Star-crossed lovers; Male sexual jealousy; Simone Signoret as modern girl and prostitute fatalitaire; Femininity as masquerade?; Evil pimps; Race, class and gender in J'irai cracher sur vos tombes [I will Spit on your Graves] (Gast, 1959); Conclusion; 6. 'Thou Shalt Not Covet': Adulterous Fatalitaires; Introduction: what do women want?; Le dernier tournant [The Last Turn] (Chenal, 1939); The Postman Always Rings Twice (Garnett, USA, 1946) | |
| 505 | 8 | |a From fatalitaire to femme fataleThérèse Raquin [The Adulteress] (Carné, France/Italy, 1953); Ascenseur pour l'échafaud [Lift to The Scaffold] (Malle, 1958); Conclusion; 7. Bad Girls; Introduction: the bad-girl fatale as archetypal unruly woman; The unruly femme and male paranoia; What does the femme want?; Demonic fatale as amoureuse; The long shadow of war; The unglamorous fatale as camouflage; Paranoia, lethal femme power and risk; Woman as spectacle and exchange object; The femme as avenging angel; Conclusion: from spectacle to subjectivity; PART IV CHERCHEZ L'HOMME; 8. Fatal Men | |
| 505 | 8 | |a IntroductionL'homme fatal; Bonnes à tuer [One Step to Eternity] (Decoin, 1954); Une Manche et la Belle [A Kiss For A Killer] (Verneuil, 1957); La Bête à L'Affût [Beast at Bay] (Chenal, 1959): after Forests of the Night (Keene, 1956); Conclusion; 9. Law Enforcers Meet the Femme; Introduction; Honourable cops and shady dames; Cops and robbers: blurred boundaries; Investigating the femme; En cas de Malheur [Love is my Profession] (Autant-Lara, France/Italy, 1956); From protection to violent surveillance: the bodyguard hypothesis; Bardot as new fatalitaire; Conclusion | |
| 500 | |a 10. Love and Money: Gender and Consumption in Gangster Noir | ||
| 520 | |a "French film noir has long been seen as a phenomenon distinct from its Hollywood counterpart. This book - an innovative departure from conventional noir scholarship - now adopts a biocultural approach to exploring the French genre through the years 1941-1959. Chapters reveal noir as a product of the social and cultural factors at play in occupied, liberated and post-war France: marked by malaise at military defeat, Nazi collaboration and the impact of industrialisation. Furthermore, the book uncovers the evolutionary mechanisms of sexuality and reproduction beneath the national context that drive gendered behaviour on screen."-- |c Provided by publisher. | ||
| 650 | 0 | |a Film noir |z France |x History and criticism. | |
| 650 | 6 | |a Films noirs |z France |x Histoire et critique. | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a Film noir |2 fast | |
| 651 | 7 | |a France |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJd8gD4vdtqQMdQHvYqbBP | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a Classic French noir (Text) |1 https://id.oclc.org/worldcat/entity/E39PCH4jB3FjGhD9QKWh4QqpHd |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Walker-Morrison, Deborah. |t Classic French Noir : Gender and the Cinema of Fatal Desire. |d London : I.B. Tauris & Company, Limited, ©2018 |z 9781784539719 |
| 830 | 0 | |a International Library of the Moving Image Ser. | |
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-on1083458204 |
|---|---|
| _version_ | 1816882482925010944 |
| adam_text | |
| any_adam_object | |
| author | Walker-Morrison, Deborah |
| author_facet | Walker-Morrison, Deborah |
| author_role | |
| author_sort | Walker-Morrison, Deborah |
| author_variant | d w m dwm |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1995 |
| callnumber-raw | PN1995.9.F54 W35 2019eb |
| callnumber-search | PN1995.9.F54 W35 2019eb |
| callnumber-sort | PN 41995.9 F54 W35 42019EB |
| callnumber-subject | PN - General Literature |
| collection | ZDB-4-EBA |
| contents | Cover; Author Biography; Title Page; Copyright; Contents; List of Illustrations; Acknowledgements; PART I. SETTING THE SCENE; 1. Introduction; Defining film noir; Corpus; French and American film noir: historical links; Sociological theory; Constructivism and psychoanalysis; Biocultural approaches; Evolutionary psychology; The biocultural turn in evolutionary science; A biocultural approach to gender: similarity and difference; The cinema of fatal desire; 2. Fatal(e) Desire in French Poetic Realism; Introduction: poetic realism as proto-noir; Gendered figures in poetic realism Star-crossed lovers: the tragic hero and French fatale as fatalitaireConclusion; PART II. THE LONG SHADOW OF WAR; 3. Looking for the Light; Introduction: invasion, occupation, collaboration; A cinema of paradox; Les Années noires and crime drama; Liberation crime drama and the myth of the Resistance; Le réalisme noir and flawed masculinity; Conclusion; 4. Too Many Women? War and Fatal(e) Desire; Introduction; Classic American femme fatale as spider woman; French fatale: 'Cherchez la femme'; War, demographics and assertive femininity: sex ratio theory; Conclusion; PART III CHERCHEZ LA FEMME 5. Fatal(e) Passions: Tragic Fatalitaires and Star-Crossed LoversIntroduction: passionate love as universal human adaptation; Love styles; Star-crossed lovers; Male sexual jealousy; Simone Signoret as modern girl and prostitute fatalitaire; Femininity as masquerade?; Evil pimps; Race, class and gender in J'irai cracher sur vos tombes [I will Spit on your Graves] (Gast, 1959); Conclusion; 6. 'Thou Shalt Not Covet': Adulterous Fatalitaires; Introduction: what do women want?; Le dernier tournant [The Last Turn] (Chenal, 1939); The Postman Always Rings Twice (Garnett, USA, 1946) From fatalitaire to femme fataleThérèse Raquin [The Adulteress] (Carné, France/Italy, 1953); Ascenseur pour l'échafaud [Lift to The Scaffold] (Malle, 1958); Conclusion; 7. Bad Girls; Introduction: the bad-girl fatale as archetypal unruly woman; The unruly femme and male paranoia; What does the femme want?; Demonic fatale as amoureuse; The long shadow of war; The unglamorous fatale as camouflage; Paranoia, lethal femme power and risk; Woman as spectacle and exchange object; The femme as avenging angel; Conclusion: from spectacle to subjectivity; PART IV CHERCHEZ L'HOMME; 8. Fatal Men IntroductionL'homme fatal; Bonnes à tuer [One Step to Eternity] (Decoin, 1954); Une Manche et la Belle [A Kiss For A Killer] (Verneuil, 1957); La Bête à L'Affût [Beast at Bay] (Chenal, 1959): after Forests of the Night (Keene, 1956); Conclusion; 9. Law Enforcers Meet the Femme; Introduction; Honourable cops and shady dames; Cops and robbers: blurred boundaries; Investigating the femme; En cas de Malheur [Love is my Profession] (Autant-Lara, France/Italy, 1956); From protection to violent surveillance: the bodyguard hypothesis; Bardot as new fatalitaire; Conclusion |
| ctrlnum | (OCoLC)1083458204 |
| dewey-full | 791.43655 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43655 |
| dewey-search | 791.43655 |
| dewey-sort | 3791.43655 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| format | Electronic eBook |
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| geographic_facet | France |
| id | ZDB-4-EBA-on1083458204 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:29:19Z |
| institution | BVB |
| isbn | 9781786725189 1786725185 9781786735188 1786735180 |
| language | English |
| oclc_num | 1083458204 |
| open_access_boolean | |
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| psigel | ZDB-4-EBA |
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| publisher | I.B. Tauris & Company, Limited, |
| record_format | marc |
| series | International Library of the Moving Image Ser. |
| series2 | International Library of the Moving Image Ser. |
| spelling | Walker-Morrison, Deborah. Classic French Noir : Gender and the Cinema of Fatal Desire. London : I.B. Tauris & Company, Limited, 2018. 1 online resource (289 pages). text txt rdacontent computer c rdamedia online resource cr rdacarrier International Library of the Moving Image Ser. Print version record. Cover; Author Biography; Title Page; Copyright; Contents; List of Illustrations; Acknowledgements; PART I. SETTING THE SCENE; 1. Introduction; Defining film noir; Corpus; French and American film noir: historical links; Sociological theory; Constructivism and psychoanalysis; Biocultural approaches; Evolutionary psychology; The biocultural turn in evolutionary science; A biocultural approach to gender: similarity and difference; The cinema of fatal desire; 2. Fatal(e) Desire in French Poetic Realism; Introduction: poetic realism as proto-noir; Gendered figures in poetic realism Star-crossed lovers: the tragic hero and French fatale as fatalitaireConclusion; PART II. THE LONG SHADOW OF WAR; 3. Looking for the Light; Introduction: invasion, occupation, collaboration; A cinema of paradox; Les Années noires and crime drama; Liberation crime drama and the myth of the Resistance; Le réalisme noir and flawed masculinity; Conclusion; 4. Too Many Women? War and Fatal(e) Desire; Introduction; Classic American femme fatale as spider woman; French fatale: 'Cherchez la femme'; War, demographics and assertive femininity: sex ratio theory; Conclusion; PART III CHERCHEZ LA FEMME 5. Fatal(e) Passions: Tragic Fatalitaires and Star-Crossed LoversIntroduction: passionate love as universal human adaptation; Love styles; Star-crossed lovers; Male sexual jealousy; Simone Signoret as modern girl and prostitute fatalitaire; Femininity as masquerade?; Evil pimps; Race, class and gender in J'irai cracher sur vos tombes [I will Spit on your Graves] (Gast, 1959); Conclusion; 6. 'Thou Shalt Not Covet': Adulterous Fatalitaires; Introduction: what do women want?; Le dernier tournant [The Last Turn] (Chenal, 1939); The Postman Always Rings Twice (Garnett, USA, 1946) From fatalitaire to femme fataleThérèse Raquin [The Adulteress] (Carné, France/Italy, 1953); Ascenseur pour l'échafaud [Lift to The Scaffold] (Malle, 1958); Conclusion; 7. Bad Girls; Introduction: the bad-girl fatale as archetypal unruly woman; The unruly femme and male paranoia; What does the femme want?; Demonic fatale as amoureuse; The long shadow of war; The unglamorous fatale as camouflage; Paranoia, lethal femme power and risk; Woman as spectacle and exchange object; The femme as avenging angel; Conclusion: from spectacle to subjectivity; PART IV CHERCHEZ L'HOMME; 8. Fatal Men IntroductionL'homme fatal; Bonnes à tuer [One Step to Eternity] (Decoin, 1954); Une Manche et la Belle [A Kiss For A Killer] (Verneuil, 1957); La Bête à L'Affût [Beast at Bay] (Chenal, 1959): after Forests of the Night (Keene, 1956); Conclusion; 9. Law Enforcers Meet the Femme; Introduction; Honourable cops and shady dames; Cops and robbers: blurred boundaries; Investigating the femme; En cas de Malheur [Love is my Profession] (Autant-Lara, France/Italy, 1956); From protection to violent surveillance: the bodyguard hypothesis; Bardot as new fatalitaire; Conclusion 10. Love and Money: Gender and Consumption in Gangster Noir "French film noir has long been seen as a phenomenon distinct from its Hollywood counterpart. This book - an innovative departure from conventional noir scholarship - now adopts a biocultural approach to exploring the French genre through the years 1941-1959. Chapters reveal noir as a product of the social and cultural factors at play in occupied, liberated and post-war France: marked by malaise at military defeat, Nazi collaboration and the impact of industrialisation. Furthermore, the book uncovers the evolutionary mechanisms of sexuality and reproduction beneath the national context that drive gendered behaviour on screen."-- Provided by publisher. Film noir France History and criticism. Films noirs France Histoire et critique. PERFORMING ARTS Reference. bisacsh Film noir fast France fast https://id.oclc.org/worldcat/entity/E39PBJd8gD4vdtqQMdQHvYqbBP Criticism, interpretation, etc. fast has work: Classic French noir (Text) https://id.oclc.org/worldcat/entity/E39PCH4jB3FjGhD9QKWh4QqpHd https://id.oclc.org/worldcat/ontology/hasWork Print version: Walker-Morrison, Deborah. Classic French Noir : Gender and the Cinema of Fatal Desire. London : I.B. Tauris & Company, Limited, ©2018 9781784539719 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2001745 Volltext |
| spellingShingle | Walker-Morrison, Deborah Classic French Noir : Gender and the Cinema of Fatal Desire. International Library of the Moving Image Ser. Cover; Author Biography; Title Page; Copyright; Contents; List of Illustrations; Acknowledgements; PART I. SETTING THE SCENE; 1. Introduction; Defining film noir; Corpus; French and American film noir: historical links; Sociological theory; Constructivism and psychoanalysis; Biocultural approaches; Evolutionary psychology; The biocultural turn in evolutionary science; A biocultural approach to gender: similarity and difference; The cinema of fatal desire; 2. Fatal(e) Desire in French Poetic Realism; Introduction: poetic realism as proto-noir; Gendered figures in poetic realism Star-crossed lovers: the tragic hero and French fatale as fatalitaireConclusion; PART II. THE LONG SHADOW OF WAR; 3. Looking for the Light; Introduction: invasion, occupation, collaboration; A cinema of paradox; Les Années noires and crime drama; Liberation crime drama and the myth of the Resistance; Le réalisme noir and flawed masculinity; Conclusion; 4. Too Many Women? War and Fatal(e) Desire; Introduction; Classic American femme fatale as spider woman; French fatale: 'Cherchez la femme'; War, demographics and assertive femininity: sex ratio theory; Conclusion; PART III CHERCHEZ LA FEMME 5. Fatal(e) Passions: Tragic Fatalitaires and Star-Crossed LoversIntroduction: passionate love as universal human adaptation; Love styles; Star-crossed lovers; Male sexual jealousy; Simone Signoret as modern girl and prostitute fatalitaire; Femininity as masquerade?; Evil pimps; Race, class and gender in J'irai cracher sur vos tombes [I will Spit on your Graves] (Gast, 1959); Conclusion; 6. 'Thou Shalt Not Covet': Adulterous Fatalitaires; Introduction: what do women want?; Le dernier tournant [The Last Turn] (Chenal, 1939); The Postman Always Rings Twice (Garnett, USA, 1946) From fatalitaire to femme fataleThérèse Raquin [The Adulteress] (Carné, France/Italy, 1953); Ascenseur pour l'échafaud [Lift to The Scaffold] (Malle, 1958); Conclusion; 7. Bad Girls; Introduction: the bad-girl fatale as archetypal unruly woman; The unruly femme and male paranoia; What does the femme want?; Demonic fatale as amoureuse; The long shadow of war; The unglamorous fatale as camouflage; Paranoia, lethal femme power and risk; Woman as spectacle and exchange object; The femme as avenging angel; Conclusion: from spectacle to subjectivity; PART IV CHERCHEZ L'HOMME; 8. Fatal Men IntroductionL'homme fatal; Bonnes à tuer [One Step to Eternity] (Decoin, 1954); Une Manche et la Belle [A Kiss For A Killer] (Verneuil, 1957); La Bête à L'Affût [Beast at Bay] (Chenal, 1959): after Forests of the Night (Keene, 1956); Conclusion; 9. Law Enforcers Meet the Femme; Introduction; Honourable cops and shady dames; Cops and robbers: blurred boundaries; Investigating the femme; En cas de Malheur [Love is my Profession] (Autant-Lara, France/Italy, 1956); From protection to violent surveillance: the bodyguard hypothesis; Bardot as new fatalitaire; Conclusion Film noir France History and criticism. Films noirs France Histoire et critique. PERFORMING ARTS Reference. bisacsh Film noir fast |
| title | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_auth | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_exact_search | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_full | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_fullStr | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_full_unstemmed | Classic French Noir : Gender and the Cinema of Fatal Desire. |
| title_short | Classic French Noir : |
| title_sort | classic french noir gender and the cinema of fatal desire |
| title_sub | Gender and the Cinema of Fatal Desire. |
| topic | Film noir France History and criticism. Films noirs France Histoire et critique. PERFORMING ARTS Reference. bisacsh Film noir fast |
| topic_facet | Film noir France History and criticism. Films noirs France Histoire et critique. PERFORMING ARTS Reference. Film noir France Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2001745 |
| work_keys_str_mv | AT walkermorrisondeborah classicfrenchnoirgenderandthecinemaoffataldesire |