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Product details
File Size: 1843 KB
Print Length: 224 pages
Publisher: University Press of Kentucky (January 5, 2007)
Publication Date: January 5, 2007
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B002XDQ7JK
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This book is a series of essays on the topic of neo noir films, citing specific films for topical treatment in each essay. Such as Memento, China Town, etc. Gives some clues on how Neo Noir differs specifically from classic noir. How the noir genre has changed since the classic era.Each "chapter" is basically its own essay on some aspect or interpretation of the Neo Noir genre. Haven't quite finished the book, but have liked the half I've read so far.Those who like this might also check out such titles as Tech-Noir: The Fusion of Science Fiction and Film Noir,The Philosophy of Film Noir) or Neo-Noir,Neo-Noir: The New Film Noir Style from Psycho to Collateral,Detours and Lost Highways: A Map of Neo-Noir and Future Noir: The Making of Blade Runner. Haven't picked them up yet, but they all look a bit interesting.
. . .to The Philosophy of Film Noir. As good as the previous volume and maybe even better. Highly recommended!
I would recommend this product because it not only is in great condition but is also a very functional book.
Excellent
Neo-noir films incorporated the visual style, characterizations, and subject matter of the classic film noir of the 1940s and '50s. But this latter film genre was able to employ more advanced film techniques; and with the replacement of the moralistic Production Code with the more flexible modern ratings system, neo-noir film was able to add new dimensions of subject and visual matter. The 1974 "Chinatown" may be "the first authentic neo-noir," writes Richard Gilmore, professor of philosophy at a Minnesota college. The TV program "Miami Vice"--first program, September 1984--was set in the Great Miami area for its "cycle of decline, decay, development, and renewal (invariably followed by further repetitions of the cycle) [which] affirmed the indeterminacy and contingency of the postmodern noir," as Stevens Sanders, emeritus professor of philosophy at a Massachusetts university writes. Thirteen essays by these and other philosophy professors relate neo-noir films not only to the film noir which preceded them, but also philosophical thoughts and ethical perspectives of Sartre, Plato, Kant, Kierkegaard, Marx, and others. Blade Runner, L. A. Confidential, The Onion Field, Parallax View, Dances With Wolves, and Raiders of the Lost Arc are among the films analyzed as neo-noir or which contain elements of this genre. This collection of essays is a companion of the editor Conard's "The Philosophy of Film Noir."
As the title suggests, this book covers the philosophical background behind films defined as neo-noir. Surprisingly this contains a large number of films most people wouldn't readily identity as Film Noir. Blade Runner, Memento, A Simple Plan and the works of Quentin Tarantino and the Cohen Brothers are amongst some of the movies that are analysed in depth. Many other movies are touched upon including Fight Club, Minority Report, The Bourne Identity and many others. The essays in this book give new insight into these movies and are easily readable by those without any background in philosophy. I would highly recommend it.
Excellent analysis of the philosophical mechanics within neo-noir cinema. Highly recommended for any film, philosophy or pop culture buff.
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