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

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Bibliographic Details
Imprint:Urbana : University of Illinois Press, [2014]
Description:1 online resource (xvi, 242 pages) : illustrations
Subject:Film noir -- History and criticism.
PERFORMING ARTS -- Film & Video -- Direction & Production.
Film noir.
Film noir
Film noir -- historia.
Electronic book.
7 -- Electronic books.
Criticism, interpretation, etc.
Electronic books.
Format: E-Resource Book
URL for this record:
Hidden Bibliographic Details
Other authors / contributors:Miklitsch, Robert, 1953- editor.
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
Review by Choice Review

Written by established scholars, the carefully researched essays in this fine collection range in quality from very good to excellent and in topic from character types and plot motifs to the uses of sound, music, and visual stylistics. Explored are unofficial female detection as a recurring motif; film noir as "fundamentally about gender and society"; theme music in conjunction with romance (e.g., Out of the Past and The Blue Gardenia); sound in noir as "auditory spectacle"; Jerry Wald, Adrian Scott, and Mark Hellinger and their influence on noir production; the careers of blacklisted directors who fled the US in the 1950s to make careers in England (Joseph Losey) and France (Jules Dassin); plot patterns and visual motifs, as linked themes of "labor, leisure, and loyalty," in heist films of the 1950s (notably The Asphalt Jungle and The Killing). In the final essay, Miklitsch (English and literature, Ohio Univ.) defends the canonical choice of Stranger on the Third Floor (1939) as the alpha noir film and Odds against Tomorrow (1959) as the omega film (or possibly the first neo-noir). An invaluable resource for anyone interested in film noir. Summing Up: Essential. Upper-division undergraduates through faculty; general readers. --Robert Ducharme, Mount Saint Mary's University

Copyright American Library Association, used with permission.
Review by Choice Review