Download PDF by Helen Hanson, Andrew Spicer: A Companion to Film Noir
By Helen Hanson, Andrew Spicer
An authoritative spouse that gives a wide-ranging thematic survey of this enduringly renowned cultural shape and comprises scholarship from either confirmed and rising students in addition to research of movie noir's effect on different media together with tv and photo novels.• Covers a wealth of recent techniques to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• beneficial properties chapters exploring the broader ‘noir mediascape’ of tv, picture novels and radio
• displays the ancient and geographical achieve of movie noir, from the Nineteen Twenties to the current and in quite a few nationwide cinemas
• comprises contributions from either verified and rising scholars
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Extra resources for A Companion to Film Noir
Perhaps most relevant to this style was D’Agostino who had already been exposed to the “Germanic” style when working at Universal, where the art department included Charles Hall and Herman Rosse – key figures in the development of the definitive look of the Universal horror film, beginning with Frankenstein (1931). Unlike earlier noir pretenders, Stranger on the Third Floor is sufficiently unique in the way it combines elements from a variety of classic film genres – gangster/crime, detective, horror, even social problem – to usher in the noir era, though it is a far cry from Citizen Kane in terms in terms of quality and originality.
28 See, for example, the interviews of Joseph Lewis and Sam Fuller in Silver and Ursini (eds), Film Noir Reader 3. 29 Most “lists” of films noir, though they may vary in terms of titles, are rather consistent in affirming 1947 as the peak of production of films noir (see, for example, the lists of films noir by year in Silver, Ward, Ursini, and Porfirio (eds), Film Noir: The Encyclopedia, pp. 343–345, and a comparison of such lists in Andrew Spicer, Film Noir (Harlow: Longmans/Pearson Education Limited, 2002), p.
A starving hobo begs for blood, snarls at an affluent couple in 1940s’ style clothing, and is restrained by police. A black car cruising the rain-slicked streets pulls under cover. Its wing mirror reflects the driver’s immaculate white shirt, pale tie, and black jacket, but his head and hands are invisible. Gaunt hematologist Edward Dalton (Ethan Hawke) steps from the car, dons a fedora, and quietly regards a gang of children sheltering from the rain – the poise with which they smoke and drink suggests that they are much older than their adolescent bodies appear.
A Companion to Film Noir by Helen Hanson, Andrew Spicer