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Out of the Shadows: Expanding the Canon of Classic Film Noir by Phillips New.+
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- Buy It NowOut of the Shadows: Expanding the Canon of Classic Film Noir by Phillips New.+
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eBay item number:312994383890
Item specifics
- Condition
- PublishedOn
- 2011-11-03
- ISBN
- 9780810881891
- EAN
- 9780810881891
- Book Title
- Out of the Shadows : Expanding the Canon of Classic Film Noir
- Item Length
- 9.4in
- Publisher
- Scarecrow Press, Incorporated
- Publication Year
- 2011
- Format
- Hardcover
- Language
- English
- Item Height
- 1.1in
- Genre
- Performing Arts
- Topic
- Film / General, Film / Genres / Crime, Film / History & Criticism
- Item Width
- 6.4in
- Item Weight
- 0 Oz
- Number of Pages
- 322 Pages
About this product
Product Information
Out of the Shadows explores the most celebrated examples of film noir such as Laura , The Maltese Falcon , and Sunset Boulevard but also offers new insight into underrated films that deserve reconsideration, including Spellbound , A Double Life , Anatomy of a Murder , and others.
Product Identifiers
Publisher
Scarecrow Press, Incorporated
ISBN-10
0810881896
ISBN-13
9780810881891
eBay Product ID (ePID)
109350987
Product Key Features
Book Title
Out of the Shadows : Expanding the Canon of Classic Film Noir
Format
Hardcover
Language
English
Topic
Film / General, Film / Genres / Crime, Film / History & Criticism
Publication Year
2011
Genre
Performing Arts
Number of Pages
322 Pages
Dimensions
Item Length
9.4in
Item Height
1.1in
Item Width
6.4in
Item Weight
0 Oz
Additional Product Features
Lc Classification Number
Pn1995.9.F54p475
Reviews
Although one can find numerous books on the topic of film noir and treatments of seemingly every possible angle on the subject, Phillips somehow manages to add one more dimension to the study of the genre. He does so by "expanding the canon" of film noir to include films often overlooked, noting the importance and significance of films such as Alfred Hitchcock's Strangers on a Train, Otto Preminger's Anatomy of a Murder, and Orson Welles's The Stranger to the cycle of films produced during the film noir era. In a thoughtful, jargon-free style, the author provides concise histories, synopses, and analyses of 23 films, combining personal interviews with primary and secondary research. Moreover, he includes information about authors of hard-boiled fiction, such as Dashiell Hammett, James Cain, Raymond Chandler, and Patricia Highsmith, continually connecting film noir to its literary roots. Phillips's breezy, conversational style makes for quick reading and easy accessibility to a topic often convoluted. For those interested in a historical and literary perspective on film noir, this volume fulfills the requirement and will not disappoint. Summing Up: Recommended. Lower-division undergraduates through faculty; general readers., Film historian and biographer Phillips suggests that the accepted film noir canon is perhaps too narrowly defined. Noir, as applied by most film historians, excludes some very worthy films, such as Hitchcock's Strangers on a Train and Fritz Lang's Ministry of Fear, as well as more modern offerings such as Anthony Minghella's The Talented Mr. Ripley. Of Ministry of Fear, for example, Phillips suggests that it is not merely a minor Lang movie; it is an important and overlooked noir film. And, as with all the films discussed, he goes into a good amount of detail, exploring the movie's themes, characters, and dialogue and showing how each belongs in the noir canon. The book apparently had a long gestation period; it draws on interviews with several directors who have been dead for decades-Lang, Cukor, Wilder, Hitchcock, and Kubrick (whose own 1956 film, The Killing, was, Phillips says, unappreciated in its time). Phillips isn't suggesting a major overhaul of the genre, but he is saying that it's time we look again at film noir with fresh eyes. A valuable addition to any film-book library., Although one can find numerous books on the topic of film noir and treatments of seemingly every possible angle on the subject, Phillips somehow manages to add one more dimension to the study of the genre. He does so by "expanding the canon" of film noir to include films often overlooked, noting the importance and significance of films such as Alfred Hitchcock's Strangers on a Train, Otto Preminger's Anatomy of a Murder, and Orson Welles's The Stranger to the cycle of films produced during the film noir era. In a thoughtful, jargon-free style, the author provides concise histories, synopses, and analyses of 23 films, combining personal interviews with primary and secondary research. Moreover, he includes information about authors of hard-boiled fiction, such as Dashiell Hammett, James Cain, Raymond Chandler, and Patricia Highsmith, continually connecting film noir to its literary roots. Phillips's breezy, conversational style makes for quick reading and easy accessibility to a topic often convoluted. For those interested in a historical and literary perspective on film noir, this volume fulfills the requirement and will not disappoint. Summing Up: Recommended. Lower-division undergraduates through faculty; general readers. , World War II and the increased public acceptance of psychiatry in the 1940s led to the rise of a new film genre, film noir. Noir was marked by convoluted story lines; seamy settings; hard-boiled, morally compromised antiheroes; and scheming, manipulative femmes fatales. Phillips (Some Like It Wilder: The Life and Controversial Films of Billy Wilder) writes that key noir films have been neglected or overlooked, notably Otto Preminger's courtroom drama Anatomy of a Murder and Alfred Hitchcock's Spellbound. He examines elements that define a noir film and the role of expatriate directors like Fritz Lang and Billy Wilder, who fled Hitler's Europe but brought their dark visions with them. Essays cover major themes, give little-known facts about the making of the films, and offer critical insights. Although film noir mostly petered out in the 1950s, Phillips also describes more recent neonoir classics, including Body Heat, L.A. Confidential, and Chinatown. Solid research and extensive cast and director interviews....Consistently readable and engaging, it will still have strong appeal for film noir fans., Film historian and biographer Phillips suggests that the accepted film noir canon is perhaps too narrowly defined. Noir, as applied by most film historians, excludes some very worthy films, such as Hitchcock's Strangers on a Train and Fritz Lang's Ministry of Fear, as well as more modern offerings such as Anthony Minghella's The Talented Mr. Ripley. Of Ministry of Fear, for example, Phillips suggests that it is not merely a minor Lang movie; it is an important and overlooked noir film. And, as with all the films discussed, he goes into a good amount of detail, exploring the movie's themes, characters, and dialogue and showing how each belongs in the noir canon. The book apparently had a long gestation period; it draws on interviews with several directors who have been dead for decades--Lang, Cukor, Wilder, Hitchcock, and Kubrick (whose own 1956 film, The Killing, was, Phillips says, unappreciated in its time). Phillips isn't suggesting a major overhaul of the genre, but he is saying that it's time we look again at film noir with fresh eyes. A valuable addition to any film-book library., Some Like It Wilder: The Life and Controversial Films of Billy Wilder) writes that key noir films have been neglected or overlooked, notably Otto Preminger's courtroom drama Anatomy of a Murder and Alfred Hitchcock's Spellbound. He examines elements that define a noir film and the role of expatriate directors like Fritz Lang and Billy Wilder, who fled Hitler's Europe but brought their dark visions with them. Essays cover major themes, give little-known facts about the making of the films, and offer critical insights. Although film noir mostly petered out in the 1950s, Phillips also describes more recent neonoir classics, including Body Heat, L.A. Confidential, and Chinatown. Solid research and extensive cast and director interviews....Consistently readable and engaging, it will still have strong appeal for film noir fans., The book is an easy read and it is the analysis of two juxtaposing films in each chapter that makes the book interesting. . . .[It] does make a good . . . academic study of the genre.
Table of Content
AcknowledgmentsPrologue: Overlooked NoirPART ONE City of Night: The Advent of Film NoirCHAPTER ONE Black Mask Brigade: Dashiell Hammett, Hard-Boiled Fiction, and Film NoirCHAPTER TWO Exploring Film Noir: Stranger on the Third Floor and Other FilmsPART TWO Nightmare Town: Dashiell Hammett's Fiction as Film NoirCHAPTER THREE John Huston: The Maltese FalconCHAPTER FOUR Stuart Heisler: The Glass Key Edward Buzzell: Song of the Thin ManPART THREE Darkness at Noon: Representative Noir FilmsCHAPTER FIVE Fritz Lang: Ministry of Fear and Scarlet StreetCHAPTER SIX Alfred Hitchcock: Spellbound and Strangers on a TrainCHAPTER SEVEN George Cukor: A Double LifeBilly Wilder: Sunset BoulevardCHAPTER EIGHT Robert Siodmak: The Killers (1946)Don Siegel: The Killers (1964)CHAPTER NINE Otto Preminger: Laura and Anatomy of a MurderCHAPTER TEN Fred Zinnemann: Act of ViolenceStanley Kubrick: The KillingCHAPTER ELEVEN Orson Welles: The Stranger and Touch of EvilPART FOUR The Lower Depths: The Rise of Neo-NoirCHAPTER TWELVE Dashiell Hammett and Neo-Noir: The Dain Curse and HammettCHAPTER THIRTEEN Anthony Minghella: The Talented Mr. RipleyLiliana Cavani: Ripley's GameAfterword by Jim WelshFilmographySelected BibliographyIndexAbout the Author
Copyright Date
2012
Target Audience
Trade
Lccn
2011-023510
Dewey Decimal
791.43/655
Dewey Edition
23
Illustrated
Yes
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