Search results
Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial. To minimize dispute the films included here should preferably feature a footnote linking to a reliable, published source which states that the mentioned film is considered to be a film noir by an expert in this field, e.g.
May 31, 2023 · A Comprehensive Encyclopedia of Film Noir contains the most extensive coverage yet of the US output of film noir, with entries on well over 2,000 US noirs and neonoirs. But the book goes far further than this, including entries on over a thousand films noirs from elsewhere around the world; in all, nearly sixty countries are represented--from ...
People also ask
What is the Encyclopedia of film noir?
When did films noirs come out?
Is film noir a genre?
Why is Italian film noir a revisionist issue?
Nov 5, 2020 · 1. The use of the term films noirs to describe certain American films – John Huston’s The Maltese Falcon, Billy Wilder’s Double Indemnity, Otto Preminger’s Laura, and Edward Dmytryk’s Murder, My Sweet – is generally held to date from an article by the Italian-born French critic and scriptwriter Nino Frank in August 1946 (Citation 1946, Citation 1999).
- Marco Paoli, Barbara Pezzotti
- 2020
Dec 1, 2010 · Abstract. The article reviews recent books on the cultural, social and political history of the Weimar Republic. Specific fields of enquiry have included gender history, where work on the history of abortion has challenged established narratives of emancipation.
- Benjamin Ziemann
- 2010
Greenwood Publishing Group, Incorporated, 2007. Mayer, Geoff, McDonnell, Brian. “The Encyclopedia of Film Noir is designed to provide an accessible yet scholarly, user-friendly but research-informed, comprehensive account of the phenomenon of film noir-both the classical film noir cycle (approximately 1939-1959) as well the modern, or neo ...
- 2007
Film noir has usually been discussed in terms of style and/or genre. Instead, Naremore proposes an original and often fascinating analysis of the ideological, economic and artistic contexts in which film noir arose. This is a vast topic, and Naremore does not claim to offer us a definitive treatment of these various contexts.
Thomas Mergel, Parlamentarische Kultur in Der Weimarer Republik: Politische Kommunikation, Symbolische Politik Und ̈ffentlichkeit Im Reichstag, Beitr̈ge Zur Geschichte Des Parlamentarismus Und Der Politischen Parteien, Bd. 135 (D̈sseldorf: Droste, 2002).
