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Andrew Dickos

Street with No Name

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This history of film noir explores the legacy and aesthetic roots of American filmmakers including Orson Welles, John Huston, Otto Preminger, and others.
Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century. Films such as Force of Evil, Night and the City, Double Indemnity, Kiss Me Deadly and later on, Chinatown and The Grifters are indelibly American. Yet the sources of this genre were found in Germany and France and imported to Hollywood by emigré filmmakers.
Andrew Dickos's Street with No Name traces film noir back to its roots in German Expressionist cinema and the French cinema of the interwar years. Dickos describes the development of film noir in America from 1941 through the 1970s, covering notable directors such as Orson Welles, Fritz Lang, John Huston, Nicholas Ray, Robert Aldrich, Samuel Fuller, Otto Preminger, Robert Siodmak, Abraham Polonsky, Jules Dassin, Anthony Mann and others.
Dickos also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, François Truffaut, and Jean-Luc Godard. Addressing the aesthetic, cultural, political, and social concerns of its creators, Street with No Name demonstrates how film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.
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480 tiskanih stranica
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2002
Godina izdanja
2002
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  • reizen99186je citiraoprije 3 godine
    Of course, a small town can function as well as a city, but it must have those social and legal-political institutions that urban civilization has bequeathed us, for it is in the encounter with these corrupted institutions in one’s pursuit of a derailed American Dream that the film noir displays its greatest vigor. The happiness promised in the daylight normality of home and wholly integrated personal and social relationships runs awry in the face of human weakness and desire. The institutions of the law, the sanctity of marriage and family founding, and the zeal to overcome personal economic distress through ingenuity and hard work fail. The psychic variables of the human condition intrude all too often in the noir world to make these features of American life little more than a cruel deceit. It is, then, a characteristic of the film noir that life is seen through the eyes of the city and its shrewd and often broken
  • reizen99186je citiraoprije 3 godine
    Woolrich, James M. Cain, and Jim Thompson, among others—fashioned this noir landscape in the city and peopled it with troubled and desperate characters whose passions and obsessions drive them to upset a precarious moral ground. It is fitting, then, to begin a definition of the film noir by recognizing the city.
  • reizen99186je citiraoprije 3 godine
    Random movie titles evoke countless variations of a despairing and haunted universe, often of fatalistic design: Where the Sidewalk Ends; The Asphalt Jungle; The Street with No Name; The Big Heat; The Big Sleep; Act of Violence; Force of Evil; Touch of Evil; Desperate; Detour; Caught; Railroaded!; The Set-Up; Kiss Me Deadly; Murder, My Sweet; Fallen Angel; On Dangerous Ground; and In a Lonely Place.1 The directors of these films and their literary counterparts—Dashiell Hammett, Raymond Chandler, Cornell
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