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100 Film Noirs: Screen Guides

Autor Jim Hillier
en Limba Engleză Hardback – 18 mai 2009
Film noir's popularity with cinema audiences, enthusiasts and scholars has remained unabated since post-war French critics began discerning a new trend in American film with the release of such stylish and atmospheric crime features asDouble IndemnityandMurder, My Sweet. Many of Hollywood's greatest directors such as Fritz Lang and Robert Siodmak are now closely associated withfilm noir's psychologically acute observations of the darker contours of the American urban landscape. Thanks to evocative cinematography, sharp writing and powerful performances, these films have had an enduring influence on international visual culture.

100 Film Noirsprovides an authoritative overview offilm noirpast and present by examining its core films and themes and providing an accessible introduction to critical debates. The book goes beyond the classical canon to examine the ways in whichnoircontinues to have a diverse influence on American cinema. It demonstrates the way thatnoirhas intervened in other more established Hollywood genres and also considers numerous lesser-known examples of the field. Importantly,100 Film Noirshas a strong international dimension and provides new and revealing insights intofilm noirsfrom France, Germany, Japan, India, Mexico and beyond.

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Specificații

ISBN-13: 9781844572151
ISBN-10: 1844572153
Pagini: 296
Ilustrații: 35 b/w photos
Dimensiuni: 123 x 168 x 25 mm
Ediția:2009
Editura: British Film Institute
Colecția British Film Institute
Seria Screen Guides

Locul publicării:London, United Kingdom

Descriere

This BFI Screen Guide provides an accessible, richly-illustrated introduction to 100 key noir films, from Hollywood classics such asDouble Indemnityto more recent titles such asSin City, as well as examples from Europe, Japan, India and Mexico, together with an editorial overview of the genre and its key debates.

Cuprins

BFI SCREEN GUIDES.- 100 FILM NOIRS FINAL.- Acknowledgements.- Introduction.- 100 Films:.- 36, Quai des orfèvres (Olivier Marchal, 2004).- The American Friend (Wim Wenders, 1977).- Asphalt Jungle (John Huston, 1950).- La Bête humaine (Jean Renoir, 1938).- The Big Combo (Joseph H Lewis, 1955).- The Big Heat (Fritz Lang, 1953).- The Big Sleep (Howard Hawks, 1946).- Blast of Silence (Alan Baron, 1961).- The Blue Dahlia (George Marshall, 1946).- Body and Soul (Robert Rossen, 1947).- Born to Kill (Robert Wise, 1947).- Brighton Rock (John Boulting, 1947).- Call Northside 777 (Henry Hathaway, 1947).- Castle of Sand (Nomura Yoshitaro, 1974).- The Chase (Arthur Ripley, 1946).- Chinatown (Roman Polanski, 1974).- C.I.D. (Raj Khosla, India, 1954).- Collateral (Michael Mann, 2004).- Cornered (Edward Dmytryk, 1945).- Criss Cross (Robert Siodmak, 1948).- The Crooked Way (Robert Florey, 1949).- Crossfire (Edward Dmytryk, 1947).- Cry of the City (Robert Siodmak, 1948).- The Dark Corner (Henry Hathaway, 1946).- Dark Passage (Delmer Daves, 1947).- Dead Reckoning (John Cromwell, 1947).- Death of a Cyclist (Javier Bardem, 1955).- Death is a Caress (Edith Carlmar, 1949).- Detour (Edgar G. Ulmer, 1945).- Devil in a Blue Dress (Carl Franklin, 1995).- D.O.A. (Rudolph Maté, 1949).- Double Indemnity (Billy Wilder, 1944).- The Driver (Walter Hill, 1978).- Fallen Angel (Otto Preminger, 1945).- Fear in the Night (Maxwell Shane, 1947).- Force of Evil (Abraham Polonsky, 1948).- A Foreign Land (Walter Salles, Brazil).- Get Carter (Mike Hodges, 1971).- Gilda (Charles Vidor, 1946).- The Glass Key (Stuart Heisler, 1942).- Gun Crazy (Joseph H Lewis, 1949).- He Ran All the Way (John Berry, 1951).- He Walked By Night (Alfred Werker, 1949).- High and Low (Akira Kurosawa, 1963).- A History of Violence (David Cronenberg, 2005).- The Hitch-hiker (Ida Lupino, 1953).- I'll Sleep When I'm Dead (Mike Hodges, 2003).- In a Lonely Place (Nicholas Ray, 1950).- I Married a Communist (Robert Stevenson, 1949).- I Wake Up Screaming (H Bruce Humberstone, 1942).- I Walk Alone (Byron Haskin, 1948).- Journey into Fear (Norman Foster/Orson Welles, 1942).- Le Jour se lève (Marcel Carné, 1939).- Lift to the Scaffold (Louis Malle, 1957).- The Killers (Robert Siodmak, 1946).- The Killing (Stanley Kubrick 1956).- Kiss Me Deadly (Robert Aldrich, 1955).- Kiss of Death (Henry Hathaway, 1947).- LA Confidential (Curtis Hanson, 1997).- The Lady from Shanghai (Orson Welles, 1947).- The Lady in the Lake (Robert Montgomery, 1946).- Laura (Otto Preminger, 1944).- The Long Goodbye (Robert Altman, 1973).- The Lost One (Peter Lorre, 1951).- M (Fritz Lang, 1931).- Memories of Murder (Joon-ho Bong, 2003).- The Maltese Falcon (John Huston, 1941).- Mildred Pierce (Michael Curtiz, 1945).- Mulholland Dr. (David Lynch, 2001).- Murder My Sweet (Edward Dmytryk, 1944).- The Narrow Margin (Richard Fleischer, 1952).- Night and the City (Jules Dassin, 1950).- Nightmare Alley (Edmund Goulding, 1947).- Night Moves (Arthur Penn, 1975).- Odd Man Out (Carol Reed, 1947).- Odds Against Tomorrow (Robert Wise, 1959).- On Dangerous Ground (Nicholas Ray, 1951).- Out of the Past (Jacques Tourneur, 1947).- Phantom Lady (Robert Siodmak, 1944).- Pickup on South Street (Samuel Fuller, 1953).- Pitfall (André de Toth, 1948).- Point Blank (John Boorman, 1967).- The Postman Always Rings Twice (Tay Garnett, 1946).- Pursued (Raoul Walsh, 1947).- Quai des orfèvres (Henri-Georges Clouzot, 1947).- The Reckless Moment (Max Ophuls, 1949).- Rififi (Jules Dassin, 1955).- Scarlet Street (Fritz Lang, 1945).- Shoot the Pianist (François Truffaut, 1960).- Side Street (Anthony Mann, 1950).- Sin City (Frank Miller and Roberto Rodriguez, 2005).- Story of a Love Affair (Michelangelo Antonioni, 1950).- Sunset Boulevard (Billy Wilder, 1950).- Taxi Driver (Martin Scorsese, 1976).- They Live By Night (Nicholas Ray, 1948).- T Men (Anthony Mann, 1947).- Touchez pas au grisbi (Jacques Becker, 1953).- Touch of Evil (Orson Welles, 1958).- Where the Sidewalk Ends (Otto Preminger, 1950).- Notes.- Index.

Notă biografică


JIM HILLIER is Visiting Lecturer in the Department of Film and Television Studies at the University of Reading. His publications includeAmerican Independent Cinema(2001),The Film Studies Dictionary(2000) andHoward Hawks: American Artist(1996).

ALASTAIR PHILLIPS is Associate Professor in the Department of Film and Television Studies at the University of Warwick. He is the author ofRififi(2008) and the co-editor ofJapanese Cinema: Texts and Contexts(2007) and ofJourneys of Desire: European Actors in Hollywood(2006).

Textul de pe ultima copertă

Film noir's popularity with cinema audiences, enthusiasts and scholars has remained unabated since post-war French critics began discerning a new trend in American film with the release of such stylish and atmospheric crime features asDouble IndemnityandMurder, My Sweet. Many of Hollywood's greatest directors such as Fritz Lang and Robert Siodmak are now closely associated withfilm noir's psychologically acute observations of the darker contours of the American urban landscape. Thanks to evocative cinematography, sharp writing and powerful performances, these films have had an enduring influence on international visual culture.

100 Film Noirsprovides an authoritative overview offilm noirpast and present by examining its core films and themes and providing an accessible introduction to critical debates. The book goes beyond the classical canon to examine the ways in whichnoircontinues to have a diverse influence on American cinema. It demonstrates the way thatnoirhas intervened in other more established Hollywood genres and also considers numerous lesser-known examples of the field. Importantly,100 Film Noirshas a strong international dimension and provides new and revealing insights intofilm noirsfrom France, Germany, Japan, India, Mexico and beyond.


Caracteristici

Film Noir is a popular and widelystudied genre
Authors are both highprofile film scholars
Includes classic films such asDouble Indemnityalongside more recent movies includingSin City
Richly illustrated with images from the films discussed