More than Night: Film Noir in Its Contexts
"Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s—melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.
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adaptation American film noir Angeles artistic audience become black and white black-and-white Blue Blue Dahlia Bogart Breen Office camera censorship characters Chaumeton Chinatown cinema cited parenthetically classic color comic contemporary create crime critical Crossfire culture dark Dashiell Dashiell Hammett decade described detective director discussion Double Indemnity dream example FIGURE film noir film’s filmmakers French gangster genre Greene Greene’s Gun Crazy Hammett hard-boiled Hitchcock Hollywood images James John killer Kiss Me Deadly Lady from Shanghai light look low-budget male Maltese Falcon Marlowe melodrama modernism modernist Mulholland Dr murder narration narrative neo-noir night noirlike novel offscreen Orson parody photographed played police political postmodern private eye production protagonist Pulp Fiction quoted Raymond Chandler remarks Robert scene screenplay script seems sexual shot social stars story streets studio style surrealist theaters theme thrillers tion violence Welles’s Wilder woman writers York