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 global phenomenon, and its stylistic icons have migrated around the advanced geo-political terrain of global cinema. This publication lines movie noir's emergent connection to eu cinema, its move inside of a sophisticated tradition of literary and cinematic translation, and its postwar consolidation within the US, Europe, Asia, the center East, and Latin the USA.
The authors learn how movie noir crosses nationwide barriers, speaks to various foreign audiences, and dramatizes neighborhood crimes and the crises of neighborhood areas within the face of world phenomena like world-wide melancholy, struggle, political career, monetary and cultural modernization, decolonization, and migration. This clean examine of movie noir and worldwide tradition additionally discusses movie noir's heterogeneous sort and revises very important scholarly debates approximately this eternally appealing 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 woman from Shanghai (Welles, 1947)
The American Friend (Wenders, 1977)
Chungking Express (Wong, 1994)
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Additional info for Film Noir: Hard-Boiled Modernity and the Cultures of Globalization (Routledge Film Guidebooks)
44 Among the first French critics to coin “film noir,” Nino Frank announced the death of the European detective formula in 1946 after seeing The Maltese Falcon (1941), Double Indemnity (1944), Laura (1944), and Murder, My Sweet (1944). 47 Like the novel, the film plots turn less on the question of legal guilt and more on how characters process and respond to a more generalized state of criminal affairs, a state all too familiar to the survivors of war. “Today’s spectator,” he remarks, “is sensitive to nothing more than this impression of real life, of lived experience, and – why not?
Visconti’s relationship with Renoir was, first, a cinematic apprenticeship: Visconti served as an assistant director and costume designer on Renoir’s Partie de campagne/A Day in the Country (1936), worked on Les Bas-fonds/The Lower Depths, and would later collaborate on the script for Renoir’s Italian film La Tosca until its shooting was interrupted in 1939 FILM NOIR AND THE CULTURE OF INTERNATIONALISM 21 22 FILM NOIR AND THE CULTURE OF INTERNATIONALISM when Italy declared war on the Allies and Renoir was forced to leave the country.
Time itself is another of the film’s chief concerns, one it pursues through an initial contrast between the public time of historical and social progress – measurable, quantifiable, and advancing inexorably to the future – and the private time of the self, given to memories and feelings that can’t be easily clocked. In the world of public time, the trains, emblems of modernity, must run on time, keeping the social world efficiently humming along. However, Renoir’s leftist politics make clear that the temporal order kept by the large clocks so prominent in the train stations is, in effect, linked to a broader social hierarchy – a rigid class system whose excesses are embodied by Grandmorin and his gold pocketwatch.