By Andrew Dickos
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Flourishing within the usa in the course of the Nineteen Forties and 50s, the grim, violent style of filmmaking referred to as movie noir mirrored the attitudes of writers and auteur administrators motivated by way of the occasions of the turbulent mid-twentieth century. movies similar to Force of Evil, Night and the City, Double Indemnity, Laura, The immense Heat, The Killers, Kiss Me Deadly and, extra lately, Chinatown and The Grifters are indelibly American. but the resources of this style have been present in Germany and France and imported to Hollywood via emigré filmmakers, who built them and allowed a colourful style to flourish.
Andrew Dickos's Street with out Name strains the movie noir style again to its roots in German Expressionist cinema and the French cinema of the interwar years. Dickos describes the improvement of the movie noir in the US from 1941 in the course of the Seventies and examines how this improvement expresses a latest cinema. Dickos examines awesome administrators comparable to Orson Welles, Fritz Lang, John Huston, Nicholas Ray, Robert Aldrich, Samuel Fuller, Otto Preminger, Robert Siodmak, Abraham Polonsky, Jules Dassin, Anthony Mann and others. He additionally charts the genre's effect on such celebrated postwar French filmmakers as Jean-Pierre Melville, François Truffaut, and Jean-Luc Godard. Addressing the classy, cultural, political, and social matters depicted within the style, Street without identify demonstrates how the movie noir generates a hugely expressive, uncooked, and violent temper because it exposes the ambiguities of contemporary postwar society.
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Extra resources for Street with No Name: A History of the Classic American Film Noir
Editorial and revenues places of work: The collage Press of Kentucky 663 South Limestone highway, Lexington, Kentucky 40508-4008 06 05 04 03 02 five four three 2 1 Frontispiece: strength of Evil (1948). Joe Morse (John Garfield): a fugitive from himself. Library of Congress Cataloging-in-Publication information Dickos, Andrew, 1952Street without identify : a heritage of the vintage American movie noir / Andrew Dickos. p. cm. comprises bibliographical references and index. ISBN 0-8131-2243-0 (alk. paper) 1. movie noir--United States--History and feedback. I. identify. PN1995. nine. F54 D53 2002 791. 43’655--dc 212001007224 This e-book is outlined on acid-free recycled paper assembly the necessities of the yankee nationwide commonplace for Permanence in Paper for revealed Library fabrics. synthetic within the country. To JoAnn and to my sister, Anne who needs to definitely have in mind the days we acquired prepared for mattress via getting ready to monitor His lady Friday at the past due express Page vi clean CONTENTS Preface ix creation 1 to call the Thing—Film Noir as variety, as style 1 German Expressionism and the Roots of the movie Noir nine Fritz Lang 20 Robert Siodmak 34 The Inception of the movie Noir within the French Cinema of the Nineteen Thirties forty two The movie Noir in France within the rapid Postwar Years fifty one 1. THE NOIR IN the United States 60 The Noir urban sixty two Archetypes—Protagonists sixty five Abraham Polonsky 70 Jules Dassin seventy five Nicholas Ray eighty two Orson Welles 88 2. THE HARD-BOILED FICTION effect ninety six Cornell Woolrich ninety nine the non-public Detective 103 Humphrey Bogart, Spade, Marlowe, and the movie Noir 109 The Gangster determine and the Noir 112 John Huston one hundred fifteen Violence within the Noir 121 Samuel Fuller a hundred twenty five Robert Aldrich a hundred thirty Don Siegel 137 Sexuality within the Noir 142 households within the Noir 146 Joseph H. Lewis 151 3. girls AS obvious within the movie NOIR 156 Otto Preminger 164 four. NOIR creation 172 Noir Iconography 173 using Voice-Over Narration 177 The Flashback machine 179 Amnesia as a Storytelling gadget 182 The B Noir construction 184 Documentary Realism within the Noir 187 serious and well known Reception of the movie Noir HUAC and the Blacklist 194 struggle photographs 197 Caper motion pictures 2 hundred Crime Syndicate Exposés 202 The Kefauver Crime Hearings 203 Anthony Mann 206 Phil Karlson 213 191 five. THE NOIR impression at the FRENCH NEW WAVE 222 Jean-Pierre Melville 228 Epilogue: reviews at the vintage movie Noir and the Neo-Noir Appendix: credit of chosen motion pictures Noirs 245 Notes 271 Bibliography 283 Index 291 235 PREFACE trying to write a historical past of the movie noir provokes questions. First, what does one suggest by way of chronicling a free variety of motion pictures thought of motion pictures noirs; that's, what's the movie noir? What makes a movie noir? And which movies top serve to demonstrate movie noir? moment, how can one supply a ancient point of view, and of what variety, to such an amorphous “cycle” of flicks. it truly is hardly ever a neat package deal for ancient association, and therein lies the folly of project an account of such videos that experience had an important and compelling effect on postwar cinema. for this reason, this background of a few movies thought of on many counts to be noir is digressive in shape, free-ranging in scope, and, during the mixture of those techniques, particular and illuminating, i am hoping, in attaining a vital knowing of the movie noir.