Kiss the blood off my hands : on classic film noir /

Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigare...

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Bibliographic Details
Imprint:Urbana : University of Illinois Press, [2014]
Description:1 online resource (xvi, 242 pages) : illustrations
Language:English
Subject:Film noir -- History and criticism.
PERFORMING ARTS -- Reference.
PERFORMING ARTS -- Film & Video -- Direction & Production.
Film noir.
Film noir
Film noir -- historia.
Skräckfilm.
Electronic book.
7 -- Electronic books.
Criticism, interpretation, etc.
Electronic books.
Format: E-Resource Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/11236271
Hidden Bibliographic Details
Other authors / contributors:Miklitsch, Robert, 1953- editor.
ISBN:9780252096518
0252096517
9780252038594
0252038592
9780252080180
0252080181
Notes:Includes bibliographical references and index.
Print version record.
Summary:Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, as well as investigate Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration unwinds the impact of hot-button topics like race and gender, history and sexuality, technology and transnationality. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike.
Other form:Print version: Kiss the blood off my hands 9780252038594
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245 0 0 |a Kiss the blood off my hands :  |b on classic film noir /  |c edited by Robert Miklitsch. 
264 1 |a Urbana :  |b University of Illinois Press,  |c [2014] 
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504 |a Includes bibliographical references and index. 
505 0 |a Introduction -- Independence unpunished: the female detective in classic film noir / Philippa Gates -- Women and film noir: Pulp fiction and the woman's picture / Julie Grossman -- The vanishing love song in film noir / Krin Gabbard -- Radio, film noir, and the aesthetics of auditory spectacle / Neil Verma -- Disney noir: "just drawn that way" / J.P. Telotte -- Detour: driving in a back projection, or forestalled by film noir / Vivian Sobchack -- Producing noir: Wald, Scott, Hellinger / Andrew Spicer -- Refuge England: blacklisted American directors and '50s British noir / Robert Murphy -- A little larceny: labor, leisure, and loyalty in the '50s noir heist film / Mark Osteen -- Periodizing classic noir: from Stranger on the third floor to the "thrillers of tomorrow" / Robert Miklitsch. 
588 0 |a Print version record. 
520 |a Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, as well as investigate Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration unwinds the impact of hot-button topics like race and gender, history and sexuality, technology and transnationality. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike. 
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