Review by Choice Review
This dictionary by Spicer (Univ. of the West of England) is the latest entry in a series that has featured, in the last few years, volumes on German, Italian, Russian, Middle Eastern, and Spanish cinema, among others. Any reference work aiming for comprehensiveness on film noir will struggle with the fact that no universal agreement exists as to what film noir is. Thus, for example, Spicer's dictionary, while acknowledging David Cronenberg's film A History of Violence (2005), lacks an entry for it. This film, arguably one of the most important neo-noirs of the last decade, is included in the slightly superior Encyclopedia of Film Noir by G. Mayer and B. McDonnell (CH, Feb'08 45-2938). To be fair, and to further illustrate the point, the encyclopedia inexplicably omits an entry for Blade Runner (1982), a film ably covered by this new dictionary. In all, Spicer offers more than 400 concise, cross-referenced entries covering noir from the 1940s to the present, including entries for actors (e.g., John Garfield, Veronica Lake), directors (e.g., the Coen Brothers, Otto Preminger), movies (e.g., The Last Seduction, Scarlet Street), and writers (e.g., Raymond Chandler, Jim Thompson), along with those for subgenres (e.g., country noir), foreign films (e.g., French film noir), and noir in other media (e.g., comics/graphic novels). Also included are a chronology, a brief introduction, an extensive, up-to-date bibliography, and a filmography. Although the volume's content does not justify its high cost, this work will be of value to those new to the study of film noir. Summing Up: Recommended. Lower-division undergraduates and general readers. W. D. Walsh Georgia State University
Copyright American Library Association, used with permission.
Review by Booklist Review
Film noir, which occurred mainly in the 1940s and '50s, and its current manifestation, neo-noir, continue to attract many filmgoers and aficionados. Cinema expert Spicer has written widely about this genre and gathers information into a volume in the publisher's Historical Dictionaries of Literature and the Arts series. The core of the content consists of American film noir during and after WWII and includes separate entries for seminal examples, such as The Big Sleep, Body Heat, and Double Indemnity. Other parts of the world are covered in entries such as German film noir, Japanese film noir, and Norwegian film noir. Subgenres (African American film noir, Gangster noir) and styles and themes (Visual style, Men) are also discussed. Representative directors and actors have entries. Spicer also discusses noir in other media, such as Comics/graphic novels, Posters, and Radio. Furthermore, he identifies precursors and other cultural phenomena that have influenced film noir, such as Existentialism, Hard-boiled fiction, and specific authors and painters. The A-Z entries vary in length from a half page to four pages (e.g., French noir) and are heavily cross-referenced. The beginning of the volume contains a chronology of film noir benchmarks and influences, from 1794 (publication of Ann Radcliffe's The Mysteries of Udolpho) to 2009's Duplicity (Stieg Larsson just missed the cut.) Eight pages of black-and-white photos of representative films and a poster are included in the middle. After the entries are a 60-page bibliography, divided by major topics, and a country-by-country filmography. Containing a wealth of detail about an intriguing film genre, this book belongs in most film collections.--Farmer, Lesley Copyright 2010 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Library Journal Review
In the raft of available film noir literature, both popular and scholarly, this represents the first subject lexicon. Each of Spicer's (European Film Noir) 400 alphabetized entries succinctly defines noir's landmark movies, key terms, and broader concepts. Running between a paragraph to two pages in length, the entries occasionally serve as subgenre field guides, describing the characteristics of country noir and neonoir. Others explain the complicated influence of ideas or movements, like the impact of European emigres on American production sets. Still, the bulk of the volume is devoted to professional biographies of the writers, producers, directors, composers, and actors who have shaped and continue to affect the genre significantly. While intended primarily as a lexicon, this work's absorbing introduction to film noir's origins offers a rationale for long-standing classification debates. A chronology locates the genetic material for noir in the 1794 gothic romance The Mysteries of Udolpho and traces this lineage through the 1920s into classic noir, neonoir, and contemporary Hollywood productions. Highly practical for researchers is the last quarter of the volume, which is devoted to a 64-page, thematically organized bibliography and a 70-page filmography, organized by nation. BOTTOM LINE A fitting counterpart to Alain Silver's The Film Noir Encyclopedia. Recommended for collections focusing on cultural and film studies.-Savannah Schroll Guz, formerly with Smithsonian Lib., Washinton, DC (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Choice Review
Review by Booklist Review
Review by Library Journal Review
