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The philosophy of neo-noir [electronic resource] / edited by Mark T. Conard.

Contributor(s): Conard, Mark T, 1965-.
Material type: TextTextSeries: Philosophy of popular culture: Publisher: Lexington, Ky. : University Press of Kentucky, c2007Description: 1 online resource (vii, 213 p.).ISBN: 0813172306 (electronic bk.); 9780813172309 (electronic bk.); 9780813124223 (hardback : alk. paper); 0813124220 (hardback : alk. paper).Subject(s): Film noir -- United States -- History and criticism | Crime films -- United States -- History and criticism | Jewish motion picture producers and directors -- United States | Working class in motion pictures | Fine Arts | PERFORMING ARTS -- Film & Video -- ReferenceGenre/Form: Electronic books.Additional physical formats: Print version:: Philosophy of neo-noir.DDC classification: 791.43/6556 Online resources: EBSCOhost
Contents:
pt. 1. Subjectivity, knowledge, and human nature in neo-noir -- pt. 2. Justice, guilt, and redemption : morality in neo-noir -- pt. 3. Elements of neo-noir.
Summary: Film noir--a cycle of American films from the 1940s and '50s--is characterized not only by a constant opposition of light and shadow and a disruptive compositional balance of frames and scenes, but also by dark, foreboding characters and plots and an overriding sense of alienation and moral ambiguity. Noir films reflect the sense of loss, fragmentation, and nihilism at the heart of the human condition in the twentieth century. Although the classic film noir period ended in the late 1950s, its impact on more films has been profound. While typically not black and white, these new films incorpor
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Includes bibliographical references and index.

pt. 1. Subjectivity, knowledge, and human nature in neo-noir -- pt. 2. Justice, guilt, and redemption : morality in neo-noir -- pt. 3. Elements of neo-noir.

Description based on print version record.

Film noir--a cycle of American films from the 1940s and '50s--is characterized not only by a constant opposition of light and shadow and a disruptive compositional balance of frames and scenes, but also by dark, foreboding characters and plots and an overriding sense of alienation and moral ambiguity. Noir films reflect the sense of loss, fragmentation, and nihilism at the heart of the human condition in the twentieth century. Although the classic film noir period ended in the late 1950s, its impact on more films has been profound. While typically not black and white, these new films incorpor

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Other editions of this work

The philosophy of neo-noir ©2007
The philosophy of neo-noir ©2007
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