Neo-noir /

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Bibliographic Details
Imprint:London ; New York : Wallflower Press, [2009]
Description:1 online resource (x, 267 pages) : illustrations
Subject:Film noir -- History and criticism.
Film noir.
Electronic books.
7 -- Electronic books.
Criticism, interpretation, etc.
Format: E-Resource Book
URL for this record:
Hidden Bibliographic Details
Other authors / contributors:Bould, Mark, editor.
Glitre, Kathrina, editor.
Tuck, Greg, editor.
Notes:Includes bibliographical references, filmography (pages 254-264), and index.
Online resource; title from e-book title screen (EBL platform, viewed August 3, 2016).
Summary:"Neo-noir knows its past. It knows the rules of the game -- and how to break them. From Point Blank (1998) to Oldboy (2003), from Get Carter (2000) to 36 Quai des Orfèvres (2004), from Catherine Tramell to Max Payne, neo-noir is a transnational global phenomenon. This wide-ranging collection maps out the terrain, combining genre, stylistic and textual analysis with Marxist, feminist, psychoanalytic and industrial approaches. Essays discuss works from the US, UK, France, Japan, South Korea, Hong Kong and New Zealand; key figures, such as David Lynch, the Coen Brothers, Quentin Tarantino and Sharon Stone; major conventions, such as the femme fatale, paranoia, anxiety, the city and the threat to the self; and the use of sound and colour."--Provided by publisher.
Other form:Print version: Neo-noir 9781906660185 9781906660178
Publisher's no.:EB00640541 Recorded Books
Review by Choice Review

This fine collection of essays begins with a helpful preface that explores the range of films that fall into the category of "neo-noir," from Get Carter (1971) to The Lookout (2007). Bould, Glitre, and Tuck (all, Univ. of the West of England, Bristol, UK) describe neo-noir as self-conscious of its generic location, as knowing the rules of its game. Topics of discussion include color in noir, sound in noir, British noir, Asian noir, and French noir. The book also includes an essay on the video game Max Payne and one devoted to the films of Sharon Stone. Readers will particularly appreciate the treatments of American films already well established in the neo-noir category: Taxi Driver, Body Heat, Angel Heart, Fight Club, Memento, and The Machinist. This collection joins The Philosophy of Neo-Noir, ed. by Mark Conard (2007), and James Naremore's More than Night: Film Noir in Its Contexts (CH, Apr'99, 36-4393) as invaluable resources on the subject. Summing Up: Essential. Lower-division undergraduates through faculty. R. Ducharme emeritus, Mount Saint Mary's University

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