By Justus Nieland, Jennifer Fay
The time period "film noir" nonetheless conjures pictures of a uniquely American malaise: hard-boiled detectives, deadly ladies, and the shadowy hells of city lifestyles. yet from its beginnings, movie noir has been a world phenomenon, and its stylistic icons have migrated around the advanced geo-political terrain of worldwide cinema. This booklet strains movie noir's emergent connection to eu cinema, its stream inside a worldly tradition of literary and cinematic translation, and its postwar consolidation within the US, Europe, Asia, the center East, and Latin the United States.
The authors study how movie noir crosses nationwide limitations, speaks to various foreign audiences, and dramatizes neighborhood crimes and the crises of neighborhood areas within the face of worldwide phenomena like world-wide melancholy, conflict, political profession, fiscal and cultural modernization, decolonization, and migration. This clean learn of movie noir and worldwide tradition additionally discusses movie noir's heterogeneous kind and revises vital scholarly debates approximately this eternally pleasing genre.
Key movies mentioned include:
The Maltese Falcon (Huston, 1941)
Stray puppy (Kurosawa, 1949)
Aventurera (Gout, 1950)
Out of the Past (Tourneur, 1947)
Ossessione (Visconti, 1943)
La Bá Humaine (Renoir, 1938)
C.I.D. (Khosla, 1956)
The girl from Shanghai (Welles, 1947)
The American Friend (Wenders, 1977)
Chungking Express (Wong, 1994)
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Extra info for Film Noir: Hard-Boiled Modernity and the Cultures of Globalization (Routledge Film Guidebooks)
If the cosmopolitanism of the prewar era had waned under fascism, the occupation became a form of imposed cosmopolitanism, especially in Berlin (a city itself divided, like the country, into four parts), where the film cultures of the occupiers and occupied mixed, clashed, and vied for political primacy. Most historians agree that Germans were cool if not outright hostile to Hollywood cinema and especially American film noir during the occupation. 67 Hollywood was thus not the cinema opposed to occupation; in Germany it was the cinema of occupation.
4 Reading faces (The Maltese Falcon, 1941). your organization gets killed, it’s . . bad business to let the killer get away with it, bad all around, bad for every detective everywhere. I’ve no earthly reason to think I can trust you, and if I do this and get away with it you’ll have something on me that you can use whenever you want to. I couldn’t be sure that you wouldn’t put a hole in me someday. All of those are on one side. Maybe some of them are unimportant. I won’t argue about that. But look at the number of them.
Further, the complex mechanisms of looking and objectification used to signify Warren’s murderous gaze are turned against him when his stepmother, Mrs. Warren, picks up the rifle and sends him spiraling down the staircase. Mrs Warren is both the killer’s killer and the final authority of the film’s narrative. ”69 For Koepnick, this film is a plea for humanism not because it emphasizes external action and “lived experience” – the elements of noir that interested the French critics. Warren exterminates the anti-humanist.