Film Noir and the Spaces of Modernity
| Author | : | |
| Rating | : | 4.23 (589 Votes) |
| Asin | : | 0674013468 |
| Format Type | : | paperback |
| Number of Pages | : | 352 Pages |
| Publish Date | : | 2013-06-29 |
| Language | : | English |
DESCRIPTION:
(James Naremore, author of More Than Night: Film Noir in Its Contexts)In this unique study of film noir, Dimendberg goes beyond the bounds of the film-studies genre to provide us with a brilliant mapping of the spatial discourses of modernity, in theory, philosophy, architecture, and urbanism, activating the spaces of film as critical interpretations of, and contributors to, debates over the pathology and form of the modern city. This is a ferociously original book, bristling with new ideas and insights. Dimendberg convincingly demonstrates that Hollywood's dark thrillers of the post-war decades were determined by exactly the same forces that shaped and were beginning to reshape the city itself. Edward Dimendberg noted it too, and has explored the connections with lucidity and thoroughness. Film noir registers the fears and human toll of all that spatial mutation, yet obliquely, metaphorically,
Edward Dimendberg is Associate Professor of Film and Media Studies at the University of California, Irvine.
Susan M. White said An ambitious and innovative look at film noir, cities. An ambitious and innovative look at film noir, cities, and other spaces. A must read for those interested in noir.
Film noir remains one of the most enduring legacies of 1940s and '50s Hollywood. Exploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity--particularly the urban landscape.The originality of Dimendberg's approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. A bold intervention in cultural studies a