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Academic Journals
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From:Projections: The Journal for Movies and Mind (Vol. 9, Issue 2) Peer-ReviewedPeople are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals --government agents, police officers, and so on--can barely succeed at a...
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From:The Chronicle of Higher Education (Vol. 52, Issue 25)Byline: NINA C. AYOUB French critics coined the term "film noir" in 1946 after a series of brooding dramas from wartime Hollywood finally made their French debut. Yet, says Sheri Chinen Biesen, noir is often seen as...
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From:College Literature (Vol. 29, Issue 3) Peer-ReviewedMost critics agree that the classical period of film noir began in 1941 with John Huston's Maltese Falcon and ended in 1958 with Orson Welles's Touch of Evil. In an influential essay of 1972 entitled "Notes on Film...
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From:West Virginia University Philological Papers (Vol. 55-56) Peer-Reviewed"Everybody has something to conceal." Sam Spade Most film histories describe the cynical, even world-weary private detective who drives film-noir narratives as an American invention. As historian John G. Cawelti...
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From:Velvet Light Trap (Issue 55) Peer-ReviewedThis essay argues that light in post-World War II American films noir is not only an aesthetic feature but a thematic and ideological one as well. These films use Enlightenment conceptions of light to explore postwar...
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From:Australian Screen Education (Issue 35) Peer-ReviewedFilm As Text THIS IS THE FINAL INSTALLMENT in Mark Nicholl's authoritative account of Carol Reed's The Third Man. The following scene by scene analysis provides not only a detailed reading of this film, but an...
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From:Literature-Film Quarterly (Vol. 40, Issue 4) Peer-ReviewedUpon first reading, Antonio Munoz Molina's second novel El invierno en Lisboa (Winter in Lisbon), published in 1987, seems to be another among the numerous "novelas negras" or noir novels so in vogue in Spanish fiction...
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From:The American (Washington, DC) (Vol. 1, Issue 7)Clint Eastwood, an icon of American heroism recognized throughout the world, made a movie last year about one of the best-known battles of World War II, a movie that lacked both a hero and so much as a glance in the...
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From:Australian Screen Education (Issue 29) Peer-ReviewedAsk him to make a film about happiness and he'd have gone fishing, or got drunk, But give him a story about more, murders than anyone can keep up with, or explain, and somehow he made a paradise. Maybe he needed a...
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From:Film Criticism (Vol. 22, Issue 1) Peer-ReviewedErotic crime drama, first filmed in the 1940s, is a sub-genre of film noir and influenced films for the next four decades. Sexual desire is central to this sub-genre, with the blockage of that desire resolved within or...
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From:California History (Vol. 82, Issue 3) Peer-ReviewedIt was summer and my spouse and I were staying at the Four Season Biltmore Santa Barbara. We were traveling with our dog and therefore had to walk her late at night across the exotic palm-lined grounds, through Spanish...
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From:Social Justice (Vol. 30, Issue 1) Peer-ReviewedOVER THE LAST TWO DECADES, PROGRESSIVES HAVE PRODUCED MUCH USEFUL AND astute analysis of the buildup of the police state (the prison-industrial complex, police seizure of assets, the rollback of civil rights, etc.) as a...
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From:Post Script (Vol. 21, Issue 3) Peer-ReviewedI Joan Copjec suggests that film noir is a modality of particular contemporary significance in that it reflects a culturally noteworthy "felt mutation in the structures of power" (1996: xi). She elsewhere suggests an...
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From:Journal of Film and Video (Vol. 62, Issue 3) Peer-Reviewed"EVERY PAINTING IS A LOVE AFFAIR." So says the cashier and Sunday painter Chris Cross (Edward G. Robinson) in Fritz Lang's Scarlet Street (1945). Cross is explaining his aesthetic principles to Katherine "Kitty" March...
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From:World Literature Today (Vol. 87, Issue 6) Peer-ReviewedNoir is, first of all, a style. In film it manifests itself in the dark shadows, odd visual angles, and extreme contrasts similar to those of German expressionist film. In fact, the argument...
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From:African American Review (Vol. 50, Issue 4) Peer-ReviewedThere are two sides to film noir criticism: One formalist, and the other content-based. Feminist criticism, for example, often emphasizes the formal elements of film noir --the stylized lighting, the eroticization of...
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From:Literature-Film Quarterly (Vol. 35, Issue 1) Peer-ReviewedWager, Jans B. Dames in the Driver's Seat: Rereading Film Noir. Austin: University of Texas Press, 2005. 202 pp. $21.95 paper. It is becoming increasingly difficult for a book on film noir to distinguish itself in an...
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From:African American Review (Vol. 45, Issue 1-2) Peer-ReviewedThe light-skinned Negro who passes permanently cuts himself off completely from the colored world.... Sometimes he prepares for the adventure by learning Spanish, French, Italian or Portuguese. He thus becomes a...
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From:World Literature Today (Vol. 85, Issue 2) Peer-ReviewedThe gangster may seem nearly ubiquitous in crime writing, but with a few exceptions, it is hard to name many gangster novels that have had a major impact. Immediately, one thinks of Mario Puzo's The Godfather (1969),...
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From:African American Review (Vol. 49, Issue 2) Peer-ReviewedA significant detail is revealed in comparing the first unpublished draft of Richard Wright's "The Man Who Lived Underground" with the published version: the author chose to fundamentally change the plot and formal...