By Mark T. Conard
A drifter without identify and no earlier, pushed simply via wish, is confident by means of a gorgeous girl to homicide her husband. A hard-drinking detective down on his good fortune turns into concerned with a gang of criminals in pursuit of a valuable artifact. The tales are instantly romantic, pessimistic, packed with nervousness and a feeling of alienation, and so they outline the essence of movie noir.
Noir emerged as a well known American movie style within the early Nineteen Forties, distinguishable by way of its use of surprising lighting fixtures, sinister plots, mysterious characters, and darkish topics. From The Maltese Falcon (1941) to Touch of Evil (1958), motion pictures from this vintage interval mirror an environment of corruption and social decay that attracted such comprehensive administrators as John Huston, Alfred Hitchcock, Billy Wilder, and Orson Welles.
The Philosophy of movie Noir is the 1st quantity to concentration solely at the philosophical underpinnings of those iconic motion pictures. Drawing at the paintings of numerous thinkers, from the French existentialist Albert Camus to the Frankurt tuition theorists Max Horkheimer and Theodor Adorno, the amount connects movie noir to the philosophical questions of a contemporary, frequently nihilistic, world.
Opening with an exam of what constitutes noir cinema, the publication translates the philosophical components constantly found in the films—themes similar to ethical ambiguity, cause as opposed to ardour, and pessimism. The individuals to the amount additionally argue that the essence and parts of noir have essentially inspired video clips outdoor of the conventional noir interval. Neo-noir movies equivalent to Pulp Fiction (1994), Fight Club (1999), and Memento (2000) have reintroduced the style to a modern audience
As they verify the suggestions found in person motion pictures, the participants additionally light up and discover the philosophical topics that floor in pop culture. a detailed exam of 1 of the main major creative events of the 20 th century, The Philosophy of movie Noir reinvigorates an highbrow dialogue on the intersection of pop culture and philosophy.
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Additional resources for The Philosophy of Film Noir (The Philosophy of Popular Culture)
Gehring, a genre in film studies “represents the division of movies into groups which have similar subjects and/or themes” (introduction to Handbook of American Film Genres, ed. Wes D. Gehring [New York: Greenwood, 1988], 1). 7. Foster Hirsch, The Dark Side of the Screen: Film Noir (New York: Da Capo, 1981), 72. 8. James Damico, “Film Noir: A Modest Proposal,” in Film Noir Reader, ed. Alain Silver and James Ursini (New York: Limelight, 1996), 103, 105 (quote). , Janey Place and Lowell Peterson, “Some Visual Motifs of Film Noir,” in Silver and Ursini, Film Noir Reader).
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