The Dark Past Keeps Returning: Gender Themes in Neo-Noir by Heather Fireman
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Ominous Faultlines in a World Gone Wrong: Courmayeur Noir in Festival Randy Malamud
Ominous Faultlines in a World Gone Wrong: Courmayeur Noir In Festival Randy Malamud In the sublime shadows of the Italian Alps, Courmayeur Confidential, Mulholland Drive, The Dark Knight trilogy), Noir In Festival’s 23-year run suggests America’s monop- hyper-noir (even ‘noirer’ than noir! Sin City, Django Un- 1 oly on this dark cinematic tradition may be on the wane. chained), and tech noir (The Matrix, cyberpunk) it remained The roots of film noir wind broadly through the geogra- a made-in-America commodity. phy of film history. One assumes it’s American to the core: Courmayeur’s 2013 program proved that contemporary Humphrey Bogart, Orson Welles, Dashiell Hammett. But noir, like anything poised to thrive nowadays, is indubita- au contraire, the term itself (obviously) emanates from bly global. Its December event featured Hong Kong film- a Gallic sensibility: French critic Nino Frank planted the maker Johnny To’s wonderfully macabre comedy, Blind flag when he coined ‘‘film noir’’ in 1946. He was discussing Detective (with the funniest crime reenactment scenes American films, but still: it took a Frenchman to appreci- ever); Erik Matti’s Filipino killer-thriller On the Job; and 2 ate them. Or maybe the genre is German, growing out Argentinian Lucı´a Puenzo’s resonantly disturbing Wakol- of Weimar expressionism, strassenfilm (street stories), da, an adaptation of her own novel about Josef Mengele’s 3 Lang’s M. 1960 refuge in a remote Patagonian Naziphile community. In fact, film noir is a hybrid which began to flourish in The Black Lion jury award went to Denis Villeneuve’s 1940s Hollywood, but was molded by displaced Europeans Enemy, a Canadian production adapted from Jose´ Sarama- (Billy Wilder, Alfred Hitchcock, Otto Preminger) and go’s Portuguese novel The Double (and with a bona fide keenly inflected by their continental aesthetic and philo- binational spirit). -
WELCOME to FILM NOIR/NEO-NOIR a Robbery Or Holdup; to Take Unlawfully, Especially in a Robbery Or Holdup; Steal
WELCOME TO FILM NOIR/NEO-NOIR a robbery or holdup; to take unlawfully, especially in a robbery or holdup; steal From The Philosophy of Neo-Noir In essence, Point Blank is an archetypical revenge thriller, but turned inside out. From 1001 Movies You Must See Before You Die • …John Boorman’s thriller is as arrestingly and unselfconsciously stylish as the day it was released, • The perfect thriller in both form and vision, Boorman’s use of widescreen to full effect --- urban horizons appear bleak and wide; characters are thrown from one long end of the frame to another... Roger Ebert: • …as suspense thrillers go Point Blank is pretty good. It gets back into the groove of Hollywood thrillers, after the recent glut of spies, counterspies, funny spies, anti-hero spies and spy-spier spies. Marvin is just a plain, simple tough guy who wants to have the same justice done for him as was done for Humphrey Bogart. From FILM NOIR OF THE WEEK: •Based very loosely on Donald Westlake's crime novel 'The Hunter', John Boorman's dazzling 'Point Blank' is a fusion of 1960's New Wave aesthetics on a traditional Noir revenge plot - with decidedly fascinating results… at once an exiting and brutal revenge Noir, and an elliptical fragmented, art film influenced by New Wave filmmakers like Resnais and Antonioni. • Along with displaying a mesmerizing, rigorous color scheme (suits matching decor, dresses matching cars), and a consistently chilly use of widescreen isolation (characters divided by columns, doorways, or space), Point Blank is easily the sexiest of early neo-noirs. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
The End of Japanese Cinema
THE END OF JAPANESE CINEMA TIMES ALEXANDER ZAHLTEN THE END OF JAPA NESE CINEMA studies of the weatherhead east asian institute, columbia university. The Studies of the Weatherhead East Asian Institute of Columbia University w ere inaugurated in 1962 to bring to a wider public the results of significant new research on modern and con temporary East Asia. alexander zahlten THE END OF JAPA NESE CINEMA Industrial Genres, National Times, and Media Ecologies Duke University Press · Durham and London · 2017 © 2017 DUKE UNIVERSITY PRESS All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Text designed by Courtney Leigh Baker Typeset in Arno Pro and Din by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Zahlten, Alexander, [date] author. Title: The end of Japa nese cinema : industrial genres, national times, and media ecologies / Alexander Zahlten. Description: Durham : Duke University Press, 2017. | Series: Studies of the Weatherhead East Asian Institute, Columbia University | Includes bibliographical references and index. | Description based on print version rec ord and cip data provided by publisher; resource not viewed. Identifiers: lccn 2017012588 (print) lccn 2017015688 (ebook) isbn 9780822372462 (ebook) isbn 9780822369295 (hardcover : alk. paper) isbn 9780822369448 (pbk. : alk. paper) Subjects: lcsh: Motion pictures— Japan— History—20th century. | Mass media— Japan— History—20th century. Classification: lcc pn1993.5.j3 (ebook) | lcc pn1993.5.j3 Z34 2017 (print) -
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode................................................................................................... -
Class Schedule Listing Mar 28, 2018
HELP | EXIT Fall 2018 Class Schedule Listing Mar 28, 2018 Please note that undergraduate university studies courses listed on SeaNet meet requirements for students with the current catalog year only. Undergraduates should check with their academic advisor, review their degree audit, and check their catalog year for specific university studies requirements that they need to fulfill their degree. Sections Found Concepts in Film - 10527 - FST 110 - 001 NOT RECOMMENDED FOR FILM STUDIES MAJORS. An introduction to film form and style designed to help students move from passive viewers to active “readers” of cinema. Weekly film screenings and lectures explore the many cinematic concepts and techniques filmmakers use to convey story, mood, and meaning. We’ll study the concept and practice of genre, examine major filmmaking movements, and explore the relationship between form and content. This course is designed for non-majors in film studies. Associated Term: Fall 2018 Registration Dates: Mar 29, 2018 to Aug 29, 2018 Levels: Undergraduate Attributes: UnvStdy Aesth, Int, & Lit Pers Main Campus Lecture Schedule Type 3.000 Credits View Catalog Entry Scheduled Meeting Times Type Time Days Where Date Range Schedule Instructors Type Class 12:30 pm - 4:45 W TBA Aug 22, 2018 - Dec 07, Lecture Granetta L Richardson pm 2018 (P) Concepts in Film - 12780 - FST 110 - 800 NOT RECOMMENDED FOR FILM STUDIES MAJORS. An introduction to film form and style designed to help students move from passive viewers to active “readers” of cinema. Weekly film screenings and lectures explore the many cinematic concepts and techniques filmmakers use to convey story, mood, and meaning. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Film Adaptation, Alternative Cinema And
FILM ADAPTATION, ALTERNATIVE CINEMA AND LYNCHIAN MOMENTS OF TRANSPOSITION By NICK VAN VUGT, B.A. Supervisor: Professor Robert Hamilton A Major Research Paper Submitted to the Department of Communication Studies and Multimedia in Partial Fulfilment of the Requirements for the Degree Master of Arts in Communication and New Media McMaster University ©Copyright by Nick van Vugt, August 2011 van Vugt 1 Film adaptation is the transfer of a written work to film. It is recognized as a type of derivative work. Whether adhering strictly to the source material or interpreting concepts derived from the original work, adaptation are necessarily extensions or interpretations of the original story. These interpretations can augment or detract from the original work. This paper will explore common variations of adaptations found in contemporary cinema. When referring to adaptations, this paper will use the broad definition – “a work in one medium that derives its impulse as well as varying number of its elements from a work in a different medium” (Konigsberg 6). This definition can extend to a multitude of interpreted work, but for the purposes of this paper we will be looking at adaptation in film: working with source material and producing and/or directing a film based on a work of literature. This paper will analyze adaptations within Hollywood films using examples by the Coen brothers’ No Country for Old Men (2007) and David Lynch’s works The Elephant Man (1980), Wild at Heart (1990) and Lost Highway (1997). This paper will discuss the films Memento (2000) and Adaptation (2002) for their interpretation of source material through alternative cinema. -
Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir In
Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files by Brielle Campos Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the English Program YOUNGSTOWN STATE UNIVERSITY May 2016 Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files Brielle Campos I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Brielle Campos, Student Date Approvals: Dr. Laura Beadling, Thesis Advisor Date Dr. Dolores Sisco, Committee Member Date Dr. Linda Strom, Committee Member Date Dr. Salvatore A. Sanders, Dean of Graduate Studies Date ABSTRACT Genre is an important part of the television industry, as it helps both producers market their texts and consumers better interpret the television they consume. By combining genres, producers can create new stories and more dynamic characters to please audiences. A recent combination that has come into being is fantasy noir. Such examples of this genre are Pushing Daisies, Constantine, and The Dresden Files. These shows take recognizable elements from both genres and meld them together to create a stronger story. While the general population does not support texts such as Pushing Daisies, Constantine, or The Dresden Files, the fans who do have found something that they can be highly dedicated to. -
A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment
A Historical Analysis of the Films of Andrei Tarkovsky in Relation to the Post-Thaw Soviet Moment Gus Helbock Haverford College Class of 2017 History Thesis Professor Linda Gerstein Professor James Krippner April 21, 2017 Helbock i Acknowledgements First, I would like to thank the professors at Haverford College who guided me through my educational experience, especially in the History Department. Specifically, I am grateful for the help that Professor Linda Gerstein and Professor James Krippner provided as my first reader/advisor and second reader, respectively. The advice they gave me and the historical insight they provided were integral in the completion of this thesis. I would also like to thank my family and friends who have given me love and support throughout the entirety of the thesis process. Helbock ii Abstract During the latter half of the twentieth century, Andrei Tarkovsky received arguably more critical admiration for his films than any Soviet director. During his filmmaking career, the Soviet Union experienced a tumultuous socio-cultural, as well as political, moment. After the death of Stalin, the Khrushchev Thaw of the late 1950s and early 1960s allowed for significantly more freedom of expression. It was at this time that Tarkovsky’s career began. However, through the 1960s and 1970s, a reactionary period in Soviet politics led to a return of stringent censorship, making Tarkovsky’s filmmaking process difficult. In the early 1980s, Tarkovsky emigrated to Western Europe, where he completed his final two films before his death in 1986. Due to his contentious relationship with the Soviet state, this thesis will attempt to analyze Tarkovsky and assess his relationship to the Russian intelligentsia and the dissident movements of the late twentieth century, as well as his relationship with spirituality and religion. -
Author Queries
Author Queries Journal title: MSS Article Number: 10.1177/1750698016670794 Dear Author/Editor, Greetings, and thank you for publishing with SAGE. Your article has been copyedited, and we have a few queries for you. Please respond to these queries when you submit your changes to the Production Editor. Thank you for your time and effort. NOTE: Please answer the queries by editing within the article: follow the AQ hyperlink below and edit the text directly. Add a "New Comment" (in the "Review" tab), if the correction cannot be done directly or for further queries. Below, please tick the boxes to the right of the query, to indicate the query has been dealt with. Please assist us by clarifying the following queries: Please confirm that all author information, including names, affiliations, sequence, and contact x details, is correct. Done Please review the entire document for typographical errors, mathematical errors, and any other x necessary corrections; check headings, tables, and figures. Done Please ensure that you have obtained and enclosed all necessary permissions for the reproduction x of artworks (e.g. illustrations, photographs, charts, maps, other visual material, etc.) Not owned by yourself. Please refer to your publishing agreement for further information. N/A Please note that this proof represents your final opportunity to review your article prior to x publication, so please do send all of your changes now. Done AQ1 Please provide complete postal address with zip code for the corresponding author. Done x Please check whether the edits made to the sentence ‘Bergman, Antonioni, and Resnais ...’ are x AQ2 correct. -
Encapsulated Noir: Hybrid Genres and Social Mobility in Alex Proyas' Dark City Steffen Hantke, Sogang University, Rep
Encapsulated Noir: Hybrid Genres and Social Mobility in Alex Proyas' Dark City Steffen Hantke, Sogang University, Rep. of Korea At first glance, Alex Proyas' neo-noir Dark City (1998) seems all pastiche. It begins with John Murdoch, the protagonist, waking up from a state of amnesia. He has been framed for a murder he does not remember committing. Apart from dodging the police, he must also escape from a group of mysterious strangers pursuing him for reasons unknown. In the Hitchcockian nightmare of having to clear himself from the unjustified murder charge, Murdoch discovers that his entire world, which consists exclusively of a vast and labyrinthine city, is in fact a large behavioral experiment. It was constructed and is now controlled by the Strangers, an incorporeal race of alien beings, borrowing dead human bodies, in pursuit of the secret of human consciousness in order to save themselves from biological and spiritual extinction. Every night, the strangers put the human inhabitants of the city to sleep, rearrange the urban map by shifting and twisting buildings into new configurations, and implant selected individuals with new memories in order to observe their behavior. In his quest for his identity, Murdoch uncovers the secret of the Strangers' existence and transforms himself into a messianic savior, delivering humankind in a climactic battle into authenticity and self- determination. This brief plot summary alone places Dark City into a broader discursive field within contemporary culture in which film noir has not only made a comeback as neo-noir pastiche, but in which genre boundaries have become so permeable that noir tropes have infiltrated adjacent popular genres.