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Monday, May 4, 2020 | History

2 edition of The philosophy of film noir found in the catalog.

The philosophy of film noir

The philosophy of film noir

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  • 17 Currently reading

Published by University Press of Kentucky in Lexington .
Written in English

    Subjects:
  • Film noir -- History and criticism

  • Edition Notes

    Includes bibliographical references and index.

    Statementedited by Mark T. Conard ; foreword by Robert Porfirio.
    SeriesThe philosophy of popular culture
    ContributionsConard, Mark T., 1965-, Porfirio, Robert.
    Classifications
    LC ClassificationsPN1995.9.F54 P44 2007
    The Physical Object
    Paginationxv, 248 p. ;
    Number of Pages248
    ID Numbers
    Open LibraryOL24000467M
    ISBN 100813191815
    ISBN 109780813191812
    LC Control Number2007281089


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The philosophy of film noir Download PDF EPUB FB2

The Philosophy of Film Noir, is part of the "Philosophy of Popular Culture" series from the University Press of Kentucky. Edited by Mark T.

Conard, it is a collection of essays from noted scholars representing a wide range of viewpoints on the art form known as film noir/5(6).

The Philosophy of Film Noir book. Read 9 reviews from the world's largest community for readers. From The Maltese Falcon () to Touch of Evil (), /5. The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films.

Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a. The philosophy of film noir User Review - Not Available - Book Verdict.

When Nietzsche declared "God is dead," little did he know he was helping to launch a new cinematic genre characterized by shady characters and seamy plotlines involving fallen women, murder and.

“The darkness of film noir was always meant to illuminate as well as reflect the shadows of the mean streets of Gangland USA. Now, in this fascinating synthesis of philosophy, film studies, and critical race theory, Dan Flory reveals to us the significance of the deeper blackness of African American noir —a light ‘doubly’ black aimed at exposing the larger crimes of White America itself.5/5(1).

For critics and fans alike, these films defined an era. The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School.

ISBN: OCLC Number: Description: xv, pages ; 24 cm: Contents: Nietzsche and the meaning and definition of noir / Mark T. Conard --A darker shade: realism in neo-noir / Jason Holt --Moral clarity and practical reason in film noir / Aeon J.

Skoble --Cherchez la femme fatale: the mother of film noir / Read Mercer Schuchardt --From Sherlock Holmes to the hard. Books The Philosophy of Film Noir Les Reid sees through a lens darkly with Mark Conard.

Film noir represents a dark night of the soul in American cinema. In the s and 30s the most popular genre was the Western, with its tales of courage, self-reliance, male toughness and female sweetness. ISBN: OCLC Number: Description: xv, pages ; 23 cm.

Contents: pt. The essence and elements of noir --Nietzsche and the meaning and definition of noir / Mark T. Conard --A darker shade: realism in neo-noir / Jason Holt --Moral clarity and practical reason in film noir / Aeon J. Skoble --Cherchez la femme fatale: the mother of film noir / Read Mercer.

Film Noirs. Notably academic, as you’d expect from BFI Publishing, but this differs from the others in this selection in that it takes into account the fact that film noir as a genre has influenced films in France, Japan, Germany, Mexico and India, so there is welcome inclusion of films other than the classics, showing how diverse the influence is.

Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films.

The Philosophy of Film Noir is the first volume to The philosophy of film noir book exclusively on the philosophical underpinnings of these iconic films. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films - themes such as moral ambiguity, reason versus passion, and pessimism.

: The Philosophy of Film Noir (Philosophy Of Popular Culture) () and a great selection of similar New, Used and Collectible Books available now at great prices/5(70). The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films.

Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a Pages:   Buy The Philosophy of Film Noir (Philosophy of Popular Culture) (The Philosophy of Popular Culture) by Mark T.

Conard (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders/5(3). "The Philosophy of Film Noir" book review for GENRE.

The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films - themes such as moral ambiguity, reason versus passion, and pessimism/5(3).

The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a /5(3).

The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a /5(7).

The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films - themes such as moral ambiguity, reason versus passion, and pessimism.5/5(1).

The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T.

Conard and the contributors examine previously obscure layers of meaning in these challenging films.4/5(44). Lee "The Philosophy of Film Noir" por disponible en Rakuten Kobo.

A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A Brand: The University Press of Kentucky. The Philosophy of Film Noir Philosophy professor Steven Sanders sifts through existentialist texts and classic noir films to find the meaning of life, while several contributors weigh in on.

Dan Flory, Philosophy, Black Film, Film Noir, Pennsylvania State University Press,pp., $ (hbk), ISBN Reviewed by Angela Curran, Carleton College Recently many philosophers have examined how film can prompt philosophical thinking about skepticism, personal identity, ethics, free will and determinism, romantic love.

First, film noir needs the right cast of characters, including an investigator with "relative integrity" like Sam Spade or Philip Marlowe, a criminal ("usually a murderer"), one "bad, beautiful" woman, and another "good, bland" characters should come from a script based on a piece of American pulp fiction such as The Maltese Falcon or Double Indemnity, ideally adapted by a European.

Film is increasingly used to introduce and discuss key topics and problems in philosophy, whilst some films raise important philosophical questions of their own. Yet until now, dependable resources for those studying and teaching philosophy and film have been limited.

Philosophers on Film answers this growing need and is the first series of its. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mids to the present.

The Philosophy of Neo-Noir Book Description: Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an. Film noir emerged out of a nexus of American sociopolitical crises, including the Great Depression, World War II, and the Cold War.

It presented the underbelly of the traditionally optimistic and utopian “American Dream” and drew upon numerous cultural influences, such as German Expressionism, American hard-boiled fiction, French Poetic Realism of the s, tabloid journalism, Italian.

vii, p. ; 24 cm Includes bibliographical references and index Subjectivity, knowledge, and human nature in neo-noir. Space, time, and subjectivity in neo-noir cinema / Jerold J.

Abrams -- Blade runner and Sartre: the boundaries of humanity / Judith Barad -- John Locke, personal identity, and Memento / Basil Smith -- Problems of memory and identity in neo-noir's existentialist antihero Pages: Book Description: In No Country for Old Men won the Academy Award for Best Picture, adding to the reputation of filmmakers Joel and Ethan Coen, who were already known for pushing the boundaries of genre.

They had already made films that redefined the gangster movie, the screwball comedy, the fable, and the film noir, among others. Read “The Philosophy of Film Noir”, by Mark Conard online on Bookmate – A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband.

A hard-dri Author: Mark Conard. The Philosophy of Neo-Noir Edited by Mark T. Conard The University Press of Kentucky, ; pp.; $ paper The goal of The Philosophy of Popular Culture series, according to series editor Mark T. Conard, is to make complex philosophical concepts more accessible to general readers by presenting them in conjunction with popular film and television genres, directors, and even sports.

Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light.

Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe.

Spanning the s and s, the classic film noir Cited by: The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films.

Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a Cited by: Film noir (/ n w ɑːr /; French:) is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize cynical attitudes and sexual s and s are generally regarded as the "classic period" of American film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Influenced: French New Wave, Neo-noir.

-- Film-Philosophy, "This collection will serve as a terrific interdisciplinary guide through the chaotic, intriguing world of postmodernist thought as it relates to film and philosophy." -- Choice, publication of the Association of College and Research Libraries, "Is Neo-Noir anything more than film noir in technicolor.

The American film Fight Club, directed by David Fincher, presents social commentary about consumerist culture, especially the feminization of American culture and its effects on film has been the source of critical analysis.

Academics Jans B. Wager describes the film as retro-noir, while Keith Gandal defines it as a "slumming trauma". The Philosophy of Film Noir Mark D.

Conard. Narrated by Jack Chekijian. Available from Audible. Book published by The University Press of Kentucky. From The Maltese Falcon () to Touch of Evil (), the classic film noir is easily recognizable for its unusual lighting, sinister plots, and feeling of paranoia.

For critics and fans alike, these films defined an era. "Examines how African-American as well as international films deploy film noir techniques in ways that encourage philosophical reflection. Combines philosophy, film studies, and cultural studies"--Provided by publisher Includes bibliographical references (p.

[]) and index Includes filmography: p. Pages:. Book Review | June 01 The Philosophy of Film Noir Conrad, Mark T., Ed. The Philosophy of Film Noir. Lexington, KY: University Press of Kentucky,Author: William B. Covey.Philosophy, Black Film, Film Noir by flory, dan. Stephanie Patridge - - Journal of Aesthetics and Art Criticism 69 (2) Black on White: Film Noir and the Epistemology of Race in Recent African American by:   Fatalism in American Film Noir: Some Cinematic Philosophy By Robert B.

Pippin pages; Charlottesville, University of Virginia Press, ; cloth $ Whether and how much film can be said to do philosophy are questions that have vexed philosophers and film scholars of late.