Über den Autor
Andrew Spicer is Reader in Cultural History at the University of the West of England, UK. His principal research interests lie in film and cultural history, including genre, stardom and constructions of masculinity, British cinema, and the role of producers and screenwriters in film-making. He has published widely on all these topics, including Typical Men (2003) and Sydney Box (2006), and three volumes on film noir: Film Noir (2002), European Film Noir (2007), and the Historical Dictionary of Film Noir (2010). He is currently co-editing a volume about film producers, and writing a study of Sean Connery.rnHelen Hanson is a Senior Lecturer in Film Studies at the University of Exeter, UK. Her research interests cover adaptation, gender and genre, film history, film style and technology, with a particular focus on the history of Hollywood. She has written articles and chapters on these topics, and has authored Hollywood Heroines: Film Noir and the Female Gothic Film (2007) and co-edited The Femme Fatale: Images, Histories, Contexts (2010). She also has a forthcoming book on the evolution of sound technology, sound craft and film style in Hollywood cinema from 1931-1950.
List of Illustrations viiirnNotes on Contributors xrnAcknowledgments xviiirnForeword xixnJames NaremorernIntroduction: The Problem of Film Noir 1nAndrew SpicerrnPart I Conceptualizing Film Noir 15rn1 The Strange Case of Film Noir 17nRobert Porfiriorn2 Genre, Hybridity, Heterogeneity: or, the Noir-SF-Vampire-Zombie-Splatter-Romance-Comedy-Action-Thriller Problem 33nMark Bouldrn3 A Wet Emptiness: The Phenomenology of Film Noir 50nHenrik Gustafssonrn4 Cinephilia and Film Noir 67nCorey K. CreekmurrnPart II Hidden, Hybrid, and Transmedia Histories and Influences 77rn5 Precursors to Film Noir 79nWheeler Winston Dixonrn6 Crisscrossed? Film Noir and the Politics of Mobility and Exchange 94nAlastair Phillipsrn7 Film Noir and Horror 111nPeter Hutchingsrn8 Borderings: The Film Noir Semi-Documentary 125nR. Barton Palmerrn9 Crime Fiction and Film Noir 142nWilliam Marlingrn10 Film Noir, American Painting and Photography: Questions of Influence 158nTom RyallrnPart III Social, Industrial, and Commercial Contexts 175rn11 The Politics of Film Noir 177nBrian Nevern12 The Black Typewriter: Who Wrote Film Noir? 193nDavid Wiltrn13 Film Noir and Studio Production Practices 211nGeoff Mayerrn14 Film Noir and Post-Studio Production Practices 229nJohn Berrarn15 Selling Noir: Stars, Gender, and Genre in Film Noir Posters and Publicity 245nMary Beth HaralovichrnPart IV The Fabric of Film Noir: Style and Performance 265rn16 Out of the Shadows: Noir Lighting and Hollywood Cinematography 267nPatrick Keatingrn17 The Ambience of Film Noir: Soundscapes, Design, and Mood 284nHelen Hansonrn18 In a Lonely Tone: Music in Film Noir 302nDavid Butlerrn19 Acting and Performance in Film Noir 318nDonna PeberdyrnPart V Identities and Film Noir 335rn20 Film Noir and Subjectivity 337nChristophe Gellyrn21 Women in Film Noir 353nYvonne Taskerrn22 "The Corpse on Reprieve": Film Noir's Cautionary Tales of "Tough Guy" Masculinity 369nGaylyn Studlarrn23 Ethnicity and Race in American Film Noir 387nDan Floryrn24 The Climb and the Chase: Film Noir and the Urban Scene - Representations of the City in Three Classic Noirs 405nMurray PomerancernPart VI Noir in Other Forms 421rn25 Radio Noir in the USA 423nJesse Schlotterbeckrn26 Television Noir 440nSteven Sandersrn27 "It Rhymes with Lust": The Twisted History of Noir Comics 458nJames LyonsrnPart VII New Geographies of Film Noir 477rn28 Film Noir in Asia: Historicizing South Korean Crime Thrillers 479nNikki J.Y. Lee and Julian Stringerrn29 Bombay Noir 496nLalitha GopalanrnIndex 512
An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels.
* Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences
* Features chapters exploring the wider 'noir mediascape' of television, graphic novels and radio
* Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas
* Includes contributions from both established and emerging scholars