A crime-busting lawyer and his initially reluctant attorney father take on the forces that run gambling and prostitution in their small Southern town. However, she soon starts to have her doubts. 4, 32, 75, 83, 116, 118, 128, 155.See, e.g., Hirsch (2001), p. 17; Christopher (1998), p. 17; Telotte (1989), p. 148.Ballinger and Graydon (2007), pp. As a hurricane approaches, the two end up confronting each other. A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to rekindle his career, but the situation quickly escalates into an out-of-control circus. 33–40.Ballinger and Graydon (2007), p. 20; Schatz (1981), pp. Ottoson (1981) also lists two period pieces directed by Siodmak (Clarens (1980), pp. 256, 295–96; Ballinger and Graydon (2007), p. 52.Aziz (2005), section "Future Noir and Postmodernism: The Irony Begins".
10, 202–7; Silver and Ward (1992), p. 6 (though they phrase their position more ambiguously on p. 398); Ottoson (1981), p. 1.See, e.g., entries on individual films in Ballinger and Graydon (2007), pp. 214–15; 253–54, 269–70, 318–19.For overview of Welles's noirs, see, e.g., Ballinger and Graydon (2007), pp. 9, 311–12 n. 1.Davis (2004), p. 194. 1–7 passim.For survey of the lexical variety, see Naremore (2008), pp. 116–22; Ottoson (1981), p. 2.Krutnik, Neale, and Neve (2008), pp. The lives of a young man and woman, an infamous gangster and a group of street kids converge one day in a volatile New York City slum. 217–18; Hirsch (2001), p. 64.See, e.g., Bould (2005), p. 18, on the critical establishment of this iconography, as well as p. 35; Hirsch (2001), p. 213; Christopher (1998), p. 7.See, e.g., Naremore (2008), p. 37, on the development of this viewpoint, and p. 103, on contributors to Silver and Ward encyclopedia; Ottoson (1981), p. 1.See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), pp. A struggling actress tries to help a friend prove his innocence when he's accused of murdering the husband of a high society entertainer. 34–37, 192.Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141.See, e.g., Silver and Ward (1992), pp. To avoid the heat of a sweltering summer night a 9-year-old Manhattan boy decides to sleep on the fire escape and witnesses a murder, but no one will believe him. Vicki Gaye encourages him to go straight, but mob king Rico Angelo insists otherwise. 7–8.See, e.g., Muller (1998), p. 81, on analyses of the film; Silver and Ward (1992), p. 2.See, e.g., Naremore (2008), p. 163, on critical claims of moral ambiguity; Lyons (2000), pp. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. A devoted secretary risks her life to try to find the elusive woman who may prove her boss didn't murder his selfish wife. A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory.
See also Bould (2005), pp. Film noir encompasses a range of plots: the central figure may be a private investigator (The questions of what defines film noir, and what sort of category it is, provoke continuing debate.Though film noir is often identified with a visual style, unconventional within a Hollywood context, that emphasizes While many critics refer to film noir as a genre itself, others argue that it can be no such thing.Others argue that film noir is not a genre. 14–15.Spicer (2007), pp. In 1973, director The most acclaimed of the neo-noirs of the era was director Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director The turn of the decade brought Scorsese's black-and-white Working generally with much smaller budgets, brothers Perhaps no American neo-noirs better reflect the classic noir A-movie-with-a-B-movie-soul than those of director-writer Neo-noir film borrows from and reflects many of the characteristics of the film noir: a presence of crime, violence, complex characters and plot-lines, mystery, ambiguity and moral ambivalence, all come into play in the neon-noir genre. In other common plots the protagonists are implicated in Film noirs tend to revolve around heroes who are more flawed and morally questionable than the norm, often Film noir is often associated with an urban setting, and a few cities—Los Angeles, San Francisco, New York, and Chicago, in particular—are the location of many of the classic films. 140–55, on "B Pictures versus Intermediates".Naremore (2008), pp. Before the complex case is over, he's seen murder, blackmail, and what might be love. 259–60, 262–63.See, e.g., Silver and Ward (1992), pp. 207–44; Silver and Ward (1992), pp. '‘Spring Breakers’ Is A ‘Fever Dream’; Or, The Most Common Description Of Harmony Korine’s New Film Kohn, Eric. In 1945, In their original 1955 canon of film noir, Raymond Borde and Etienne Chaumeton identified twenty-two Hollywood films released between 1941 and 1952 as core examples; they listed another fifty-nine American films from the period as significantly related to the field of noir.To support their categorization of certain films as noirs and their rejection of others, many critics refer to a set of elements they see as marking examples of the mode. 77–79.See Palmer (2004), pp. 182–183; Schrader (1972), p. 61.See, e.g., Ballinger and Graydon (2007), pp. 282–83; Naremore (1998), pp. 210–11. 14, 32.See Skoble (2006), pp. A number of low- and modestly-budgeted noirs were made by independent, often actor-owned, companies contracting with larger studios for distribution. Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual motivations. How far will she have to go to ingratiate herself with them? For description of See, e.g., Ballinger and Graydon (2007), p. 19; Irwin (2006), p. 210; Lyons (2000), p. 36; Porfirio (1980), p. 269.Ballinger and Graydon (2007), p. 4, 19–26, 28–33; Hirsch (2001), pp.
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