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Class, crime and international film noir : = globalizing America's dark art /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Class, crime and international film noir :/ Dennis Broe.
Reminder of title:	globalizing America's dark art /
Author:	Broe, Dennis,
Description:	1 online resource.
Subject:	Film noir - History and criticism. -
Subject:	United States. -
Online resource:	http://www.palgraveconnect.com/doifinder/10.1057/9781137290144
ISBN:	1137290145 (electronic bk.)

Class, crime and international film noir : = globalizing America's dark art /
Broe, Dennis,

Class, crime and international film noir :globalizing America's dark art /Dennis Broe. - 1 online resource.

Includes bibliographical references and index.

Preface: On Symbolic Misery and Its Attenuation (And the Crime Film) -- Acknowledgements -- Introduction: Global Fugitives: Outside the Law and the Cold War 'Consensus' -- 1. Un greve, sanglant et poetic (A Strike, Bloody and Poetic): French Film Noir and the Defeat of the Popular Front -- 2. The Revolution That Wasn't: Black Markets, Ressentiment, and Survival in Postwar British Film Noir -- 3. The Wintering of the Italian Spring: From Neorealism to Film Noir via Verdi -- 4. Occupy the Zaibatsu: Postwar Japanese Film Noir: From Democracy to the (Re)Appearance of the (Old) New Order -- Conclusion: Mediterranean Noir: Sunlight Gleaming Off a Battered .45.

Class, Crime and International Film Noir argues that this dark, seedy variant of the crime film was a global phenomenon from its inception. Broe locates noir's beginnings not in the Hollywood post-war B film, but rather in the late poetic realist works in France while the Foreword by Kees van der Pijl, author of The Making of an Atlantic Ruling Class, supplies a context for the wider political economic background of the films studied. With judicious comparisons to the rise of noir in Hollywood, Broe details the development of parallel noir strands in France, Britain, Italy, and Japan: he describes how a global political and social situation, similarities in studio mode of production, and genre commonalties gave rise to a form artists employed to express discontent at the failure of a new world to materialize in the wake of the Second World War. Besides being a detailed analysis of global noir, the book is also an auteur study of more neglected works by directors such as Renoir, Antonioni, Rosi, Kurosawa, and Mizoguchi.

ISBN: 1137290145 (electronic bk.)

Source: 647525Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

839743
Film noir
--History and criticism.Subjects--Geographical Terms:

665264
United States.
Index Terms--Genre/Form:

993252
Criticism, interpretation, etc.

LC Class. No.: PN1995.9.F54

Dewey Class. No.: 791.43/61

Class, crime and international film noir : = globalizing America's dark art /
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505 0 $a Preface: On Symbolic Misery and Its Attenuation (And the Crime Film) -- Acknowledgements -- Introduction: Global Fugitives: Outside the Law and the Cold War 'Consensus' -- 1. Un greve, sanglant et poetic (A Strike, Bloody and Poetic): French Film Noir and the Defeat of the Popular Front -- 2. The Revolution That Wasn't: Black Markets, Ressentiment, and Survival in Postwar British Film Noir -- 3. The Wintering of the Italian Spring: From Neorealism to Film Noir via Verdi -- 4. Occupy the Zaibatsu: Postwar Japanese Film Noir: From Democracy to the (Re)Appearance of the (Old) New Order -- Conclusion: Mediterranean Noir: Sunlight Gleaming Off a Battered .45.
520 $a Class, Crime and International Film Noir argues that this dark, seedy variant of the crime film was a global phenomenon from its inception. Broe locates noir's beginnings not in the Hollywood post-war B film, but rather in the late poetic realist works in France while the Foreword by Kees van der Pijl, author of The Making of an Atlantic Ruling Class, supplies a context for the wider political economic background of the films studied. With judicious comparisons to the rise of noir in Hollywood, Broe details the development of parallel noir strands in France, Britain, Italy, and Japan: he describes how a global political and social situation, similarities in studio mode of production, and genre commonalties gave rise to a form artists employed to express discontent at the failure of a new world to materialize in the wake of the Second World War. Besides being a detailed analysis of global noir, the book is also an auteur study of more neglected works by directors such as Renoir, Antonioni, Rosi, Kurosawa, and Mizoguchi.
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