Noir Gangster Inhaltsverzeichnis
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For description of City Streets as "proto-noir", see Turan Silver and Ward list nine classic-era film noirs by Lang, plus two from the s pp.
Ottoson lists eight excluding Beyond a Reasonable Doubt  , plus the same two from the s passim.
Silver and Ward list seven by Mann p. Ottoson also lists Reign of Terror a. The Black Book ; , set during the French Revolution, for a total of eight passim.
The Wall Street Journal. The Scarecrow Press Inc. Archived from the original PDF on Archived from the original on For a latter-day analysis of the film's self-consciousness, see Naremore , pp.
See also Kolker , p. For Point Blank , see Ballinger and Graydon , pp. For Klute , see Ballinger and Graydon , pp.
The Independent. For Farewell, My Lovely , see Kirgo , pp. American Film Institute. For kinship to classic noir boxing films, see Muller , pp. March 23, National Review Online.
Film in Focus. Accomando, Beth Box Office Mojo. Village Voice. The Guardian. Ballinger and Graydon note "future noir" synonyms: "'cyber noir' but predominantly 'tech noir'" p.
The New York Times. The title of Michael F. Excluded from canon: Silver and Ward , p. Ignored: Bould ; Christopher ; Ottoson Ignored: Ballinger and Graydon ; Hirsch ; Christopher Also see Silver and Ward : ignored in ; included in pp.
Christopher and Silver and Ward , for instance, include Slightly Scarlet and Party Girl , but not Vertigo , in their filmographies.
By contrast, Hirsch describes Vertigo as among those Hitchcock films that are "richly, demonstrably noir " p. Ottoson includes none of the three in his canon.
For characterization of definitive tone as "hopeless", see pp. Hirsch subsequently states, "In character types, mood [emphasis added], themes, and visual composition, Double Indemnity offer[s] a lexicon of noir stylistics" p.
Merriam-Webster Online Dictionary. Merriam-Webster Online. Abbas, M. Ackbar Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press.
Nabokov's Dark Cinema. Ballinger, Alexander, and Danny Graydon The Rough Guide to Film Noir. London: Rough Guides. Biesen, Sheri Chinen Baltimore: Johns Hopkins University Press.
A Panorama of American Film Noir, — , trans. Paul Hammond. San Francisco: City Lights Books. London and New York: Wallflower.
Westport, Conn. The Book of Film Noir. New York: Continuum. Crime Movies: An Illustrated History. New York: W.
The Philosophy of Neo-Noir. Lexington: University Press of Kentucky. Shades of Noir. London and New York: Verso. The Singing Detective. London: BFI Publishing.
Alternative Scriptwriting: Successfully Breaking the Rules , 3d ed. Boston and Oxford: Focal Press. Davis, Blair Steffen Hantke.
Jackson: University Press of Mississippi. Erickson, Glenn Greenberg, eds. The Big Book of Noir. Princeton, N.
Hanson, Helen London and New York: I. Nashville, Tenn. Pompton Plains, N. New York: Da Capo. Holm, D. Film Soleil.
Harpenden, UK: Pocket Essentials. Baltimore: Bancroft. London: Wallflower. Kennedy, Harlan Kirgo, Julie Kolker, Robert A Cinema of Loneliness , 3d ed.
New Brunswick, N. Lynch on Lynch , rev. New York and London: Faber and Faber. Macek, Carl, and Alain Silver Mackendrick, Alexander New York: Macmillan.
Martin, Richard Lanham, Md. McGilligan, Patrick Fritz Lang: The Nature of the Beast. New York: St. Genre and Hollywood.
London and New York: Routledge. Metuchen, N. Barton Robert Stam and Alessandra Raengo, pp. Maiden, Mass. Porfirio, Robert Ray, Robert B.
A Certain Tendency of the Hollywood Cinema, — Mark T. Conard, pp. The American Cinema: Directors and Directions, — Cambridge, Massachusetts: Da Capo.
New York: Random House. London: Faber and Faber. Server, Lee Ava Gardner: "Love Is Nothing". Silver, Alain Film Noir Reader , vols.
Silver, Alain, and Elizabeth Ward Woodstock, N. Film Noir: The Encyclopedia , 4th rev. David Violence and American Cinema. European Film Noir.
Urbana and Chicago: University of Illinois Press. A Biographical Dictionary of Film , 3rd ed. New York: Knopf.
Tuska, Jon The Big Lebowski. Vernet, Marc Wager, Jans B. Austin: University of Texas Press. White, Dennis L.
Widdicombe, Toby A Reader's Guide to Raymond Chandler. The Erotic Thriller in Contemporary Cinema. Bloomington: Indiana University Press.
Auerbach, Jonathan Film Noir and American Citizenship. Durham, N. London: IB Tauris. Washington, D. Despite his undeniable brilliance, however, Strummer was often known to throw caution to the wind somewhat.
While tensions in the group threatened band relationships, Strummer would often disappear for weeks on end without alerting those close to him of his whereabouts.
With lingering disappointment following the overall result of Rude Boy , a film directed by Jack Hazan and David Mingay which the band later disowned, Strummer and his bandmates set about doing things their own way.
In a bid to revamp their creative spark following months of squabbling during intense tour schedules, Strummer dreamed up the idea of Hell W10 , a Clash film written, directed and starring the band members.
A total independent project which had subtle hints to s film production and told the tale of a few small-time crooks and, in an essence, was inspired by Italian neorealism and the French New Wave —albeit made with a shoestring budget and set in s London.
The bizarre final result was, admittedly, all over the place. Lacking cohesion and clear direction, Strummer came to his senses and shelved the film for good and, in doing so, failed to explain to his bandmates why he did so.
Everyone put in their time without thinking about it. That was what we did on our time off; we worked! His obsession with her, as well as his pride, clouds his judgment as Cornell, a much more ruthless hoodlum, moves in on Shubunka's territory, bribes and threatens his associates, and compromises his operation.
As if in a Greek tragedy, the petty gangster's weaknesses conspire to cause his downfall. Written by duke aol. Occasionally Allied Artists was able to produce a first rate serious film unrelated to their usual formularized output.
As the protagonist Barry Sullivan essays a suitably morose,hardened individual driven by desperation to hold onto his rapidly crumbling kingdom. Desperate too are the pathetic bystanders who will be effected if this petty prince of rackets should fall to the machinations of a rival mob.
Belita is a fashion socialite whom Sullivan uses but cannot love. Akim Tamiroff is terrific as the owner of a seemingly innocuous ice-cream parlor where Sullivan's influence has set in motion the tragic events that follow.
Also well-cast are Joan Lorring as an adoring counter girl,John Ireland as a hooked gambler,Harry Morgan as an amusing soda-jerk,and every film buff's "favorite" New York thug,Sheldon Leonard as the leader of the new mob organization.
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