This book examines the influence of film noir on visual narrative and technique in global cinematic traditions. Following World War II, film noir became the dominant cinematic expression of Cold War angst, influencing new trends in European and Asian filmmaking. International Noir examines film noir's influence on the cinematic traditions of Britain, France, Scandinavia, Japan, Hong Kong, Korea, and India. This book suggests that the film noir style continues to appeal on such a global scale because no other cinematic form has merged style and genre to effect a vision of the disturbing consequences of modernity. International noir has, however, adapted and adopted noir themes and aesthetic elements so that national cinemas can boast an independent and indigenous expression of the genre. Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book also calls into question critical assessments of noir in international cinemas. In short, it challenges prevailing film scholarship to renegotiate the concept of noir.
Ending with an examination of Hollywood's neo-noir recontextualization of the genre, and post-noir's reinvigorating critique of this aesthetic, International Noir offers Film Studies scholars an in-depth commentary on this influential global cinematic art form, further offering extensive bibliography and filmographies for recommended reading and viewing. It examines noir's influence on film narrative and technique in several different national cinemas. It covers British, French and Japanese noir as well as the influence of noir on Scandivavian, Chinese and Korean cinema. It includes chapters on neo-noir and post-noir films.
Homer Pettey is Associate Professor of Literature and Film in the Department of English at the University of Arizona. R. Barton Palmer is Calhoun Lemon Professor of Literature at Clemson University, where he directs the film studies program.
Acknowledgements; Notes on Contributors; List of Figures; The Noir Impulse, Homer B. Pettey; 1. British Noir, James Leach; 2. French Noir 1947-79: From Grunge-Noir to Noir-hilism, Susan Hayward; 3. French Neo-noir: an aesthetic for the Policier, Maureen Turim; 4. Early Japanese Noir, Homer B. Pettey; 5. The Gunman and the Gun: Japanese Film Noir since the late 1950s, David Desser; 6. Darker than Dark: Film Noir in its Asian Contexts, Stephen Teo; 7. Nordic Noir and Neo-Noir: The Human Criminal, Andrew Nestingen; 8. Indian Film Noir, Corey Creekmur; 9. The New Sincerity of Neo-Noir, R. Barton Palmer; 10. Post-noir: getting back to business, Mark Bould; Selected Reading Guide to International Film Noir; Selected Viewing Guide to International Film Noir; Index.
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