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Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book explores the influence of noir on international cinematic traditions and challenges prevailing film scholarship. It includes extensive bibliography and filmographies for recommended reading and viewing.
Following World War II, film noir became the dominant cinematic expression of Cold War angst, influencing new trends in European and Asian filmmaking. International Noir examines film noir's influence on the cinematic traditions of Britain, France, Scandinavia, Japan, Hong Kong, Korea, and India. This book suggests that the film noir style continues to appeal on such a global scale because no other cinematic form has merged style and genre to effect a vision of the disturbing consequences of modernity. International noir has, however, adapted and adopted noir themes and aesthetic elements so that national cinemas can boast an independent and indigenous expression of the genre. Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book also calls into question critical assessments of noir in international cinemas. In short, it challenges prevailing film scholarship to renegotiate the concept of noir. Ending with an examination of Hollywood's neo-noir recontextualization of the genre, and post-noir's reinvigorating critique of this aesthetic, International Noir offers Film Studies scholars an in-depth commentary on this influential global cinematic art form, further offering extensive bibliography and filmographies for recommended reading and viewing.
The core volume in the Traditions in World Cinema series, this book brings together a colourful and wide-ranging collection of world cinematic traditions - national, regional and global - all of which are in need of introduction, investigation and, in some cases, critical reassessment. Topics include: German expressionism, Italian neorealism, French New Wave, British new wave, Czech new wave, Danish Dogma, post-Communist cinema, Brazilian post-Cinema Novo, new Argentine cinema, pre-revolutionary African traditions, Israeli persecution films, new Iranian cinema, Hindi film songs, Chinese wenyi.
Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.
This unique anthology of Iraqi noir fiction collects fourteen original stories of crime, conspiracy, regret, and revenge in the capital of Iraq. The centuries-old city of Baghdad has known many rulers, many troubles, and many crimes. But while most Iraqis would agree that their life has always been noir, there has not been a literary tradition to capture this aspect of the culture. By commissioning the fourteen stories collected here—most by Iraqi writers, all by authors familiar with Baghdad—editor Samuel Shimon and Akashic Books have created what may be the first anthology of Iraqi crime fiction ever assembled. Here you will read of life in Baghdad both during and after the Saddam Hussein era, with stories of fear in the shadow of a ruthless dictator; kidnappings in the time of U.S. occupation; detectives who investigate political conspiracies; and tales of revenge, assassination, mental illness, and family struggle in the war-torn City of Peace. Baghdad Noir includes brand-new stories by Sinan Antoon, Ali Bader, Mohammed Alwan Jabr, Nassif Falak, Dheya al-Khalidi, Hussain al-Mozany, Layla Qasrany, Hayet Raies, Muhsin al-Ramli, Ahmed Saadawi, Hadia Said, Salima Salih, Salar Abdoh, and Roy Scranton.
Featuring rumpled PIs, shyster lawyers, corrupt politicians, double-crossers, femmes fatales, and, of course, losers who find themselves down on their luck yet again, film noir is a perennially popular cinematic genre. This extensive encyclopedia describes movies from noir's earliest days – and even before, looking at some of noir's ancestors in US and European cinema – as well as noir's more recent offshoots, from neonoirs to erotic thrillers. Entries are arranged alphabetically, covering movies from all over the world – from every continent save Antarctica – with briefer details provided for several hundred additional movies within those entries. A copious appendix contains filmographies of prominent directors, actors, and writers. With coverage of blockbusters and program fillers from Going Straight (US 1916) to Broken City (US 2013) via Nora Inu (Japan 1949), O Anthropos tou Trainou (Greece 1958), El Less Wal Kilab (Egypt 1962), Reportaje a la Muerte (Peru 1993), Zift (Bulgaria 2008), and thousands more, A Comprehensive Encyclopedia of Film Noir is an engrossing and essential reference work that should be on the shelves of every cinephile.
A world-weary detective, a seductive femme fatale, a mysterious murder - these elements of classic film noir live again in more recent hardboiled detective films from Chinatown to Sin City. But the themes of noir have also spilled over into gangster movies, as well as creating new genres including psycho-noir (Memento), techno-noir (The Matrix) and superhero-noir (The Dark Knight). Neo-Noir shows how new noir films have drawn upon contemporary social and historical events as well as the latest technological advances in filmmaking to put a new spin on a classic genre.
“Authors whose dark take on humanity would be familiar to the likes of Cornell Woolrich and Jim Thompson. Story after story offers haunting images.” —Publishers Weekly, starred review The more you watch Moscow, the more it looks like a huge chameleon that keeps changing its face—and it isn’t always pretty. Following Akashic Books’ international success with London Noir, Delhi Noir, Paris Noir, and others, the Noir series explores this fabled and troubled city’s darkest recesses. Moscow Noir features stories by: Alexander Anuchkin, Igor Zotov, Gleb Shulpyakov, Vladimir Tuchkov, Anna Starobinets, Vyacheslav Kuritsyn, Sergei Samsonov, Alexei Evdokimov, Ludmilla Petrushevskaya, Maxim Maximov, Irina Denezhkina, Dmitry Kosyrev, Andrei Khusnutdinov, and Sergei Kuznetsov. “Sordid crimes, gangsters and other underworld characters, sometimes supernatural themes, and a hefty body count . . . The best stories in the collection have some reverberations of a hoary past on the everyday life of a neighborhood . . . It is hard to over-emphasize the power of the locations described in some of these stories.” —MostlyFiction Book Reviews “This anthology is an attempt to turn the tourist Moscow of gingerbread and woodcuts, of glitz and big money, inside out.” —Bookslut “I am particularly struck by how it is the shortest stories here that seem the most fresh, bold and interesting. There we see often impressionistic touches in the prose or plotting and some really impressive exploration of theme. In particular, I would recommend ‘In the New Development’ and ‘The Point of No Return’ as highlights.” —Mysteries Ahoy!
Film noir has always been associated with urban landscapes, and no two cities have been represented more prominently in these films than New York and Los Angeles. In noir and neo-noir films since the 1940s, both cities are ominous locales where ruthless ambition, destructive impulses, and dashed hopes are played out against backdrops indifferent to human dramas. In Urban Noir: New York and Los Angeles in Shadow and Light, James J. Ward and Cynthia J. Miller have brought together essays by an international group of scholars that examine the dark appeal of these two cities. The essays in this volume explore aspects of the noir and neo-noir cityscape that have been relatively unexamined, including the role of sound and movement through space, the distinctive character of certain neighborhoods and locales, and the importance of individual moments in time. Among the films discussed in this book are classic noirs Double Indemnity (1944), He Walked by Night (1948), and Criss Cross (1949), as well as neo-noirs such as Cotton Comes to Harlem (1970), Klute (1971), Taxi Driver (1976), Eyes of Laura Mars (1978), Cruising (1980), Alphabet City (1984), Devil in a Blue Dress (1995), Drive (2011), Rampart (2011), and Nightcrawler (2014). Uniting these essays is a thematic orientation toward darkness, whether interpreted in atmospheric and architectural terms, in social and psychological terms, or in terms of disruptive change, economic dislocation, and real or perceived existential threats. Offering multiple new perspectives on a wide range of films, Urban Noir will be of interest to scholars of film, media, politics, sociology, history, and popular culture.
The term "film noir" still conjures images of a uniquely American malaise: hard-boiled detectives, fatal women, and the shadowy hells of urban life. But from its beginnings, film noir has been an international phenomenon, and its stylistic icons have migrated across the complex geo-political terrain of world cinema. This book traces film noir’s emergent connection to European cinema, its movement within a cosmopolitan culture of literary and cinematic translation, and its postwar consolidation in the US, Europe, Asia, the Middle East, and Latin America. The authors examine how film noir crosses national boundaries, speaks to diverse international audiences, and dramatizes local crimes and the crises of local spaces in the face of global phenomena like world-wide depression, war, political occupation, economic and cultural modernization, decolonization, and migration. This fresh study of film noir and global culture also discusses film noir’s heterogeneous style and revises important scholarly debates about this perpetually alluring genre.