By Helen Hanson, Andrew Spicer
An authoritative spouse that gives a wide-ranging thematic survey of this enduringly well known cultural shape and contains scholarship from either confirmed and rising students in addition to research of movie noir's impression on different media together with tv and photograph novels.• Covers a wealth of latest methods to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• beneficial properties chapters exploring the broader ‘noir mediascape’ of tv, photo novels and radio
• displays the historic and geographical achieve of movie noir, from the Twenties to the current and in quite a few nationwide cinemas
• comprises contributions from either proven and rising scholars
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Extra resources for A Companion to Film Noir
91–128. For two interesting recent accounts of this aspect of film noir see Dennis Broe, Film Noir, American Workers, and Postwar Hollywood (Gainesville: University Press of Florida, 2009) and Jonathan Auerbach, Dark Borders: Film Noir and American Citizenship (Durham, NC: Duke University Press, 2011). See Sheri Chinen Biesen, Blackout: World War II and the Origins of Film Noir (Baltimore, MD: Johns Hopkins University Press, 2005). D. Marsham, Life, August 25, 1947, qtd in Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: McGraw-Hill, 1981), p.
Since 2005 there has been a “[Film] Noir of the Week” website featuring a review/synopsis of a different classic film noir each week with its own blog link and touting “The Film Noir Foundation” for donations towards the preservation of classic films noir. Regarding the influence of film noir on comic books and strips, when I interviewed Will Eisner, creator of The Spirit, in 1972 he told me that among the influences on his visual style were films such as Citizen Kane and those “crime thrillers” of the 1940s that we now term classic film noir.
24 If we look at but three of the major contributors to film noir, the influence of the kammerspielefilms becomes readily apparent. Orson Welles we have already mentioned. A less obvious figure, Alfred Hitchcock, has confessed his familiarity with the German films of Murnau and Lang and stated that the first picture he would claim as stylistically his own is The Lodger (1927), a film with strong roots in the “Germanic” tradition. His first entries in the noir series, Suspicion (1941, whose imposed “happy ending” unfortunately blunted Francis Iles’s original novel, Before the Fact, on which it was based), and Shadow of a Doubt (1943) reverberate with elements of the kammerspielefilm.