Thematische Bibliographien / Film noir – United States – History and criticism

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Auswahl der wissenschaftlichen Literatur zum Thema „Film noir – United States – History and criticism“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "Film noir – United States – History and criticism"

Sluga, McKayla. "Art Film Writing in American Modernist Periodicals, 1910s–1930s." Journal of Modern Periodical Studies 14, no. 2 (2023): 159–84. http://dx.doi.org/10.5325/jmodeperistud.14.2.0159.

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ABSTRACT This article connects periodical and film studies to present a history of film criticism in the United States. Through modernist periodicals such as The Seven Arts and The Soil, the article traces film writing’s evolution from scattered articles in the 1910s to the creation of Experimental Cinema by 1930. Rediscovering these early film writings in relation to Experimental Cinema decenters trade journals and newspapers to emphasize developments outside of mainstream print. It also clarifies cinema’s historical role in American progressives’ projects of modernism in the twentieth centur

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Riabov, Oleg. "Gendering the American Enemy in Early Cold War Soviet Films (1946–1953)." Journal of Cold War Studies 19, no. 1 (2017): 193–219. http://dx.doi.org/10.1162/jcws_a_00722.

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Analyzing Soviet films and film criticism from the late Stalin period, this article shows how Soviet cinematographers exploited gender discourse to produce Otherness. Cinematic representations of U.S. femininity, masculinity, love, sexuality, and marriage played an important role in constructing external and internal Enemies. Cinematography depicted the U.S. gender order as resulting from the unnatural social system in the United States and as contrary to both the Soviet order and human nature. In line with the notion of “two different Americas,” the films also created images of “good American

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Wahlström, Helena. "Reproduction, Politics, and John Irving’s The Cider House Rules: Women’s Rights or "Fetal Rights"?" Culture Unbound 5, no. 2 (2013): 251–71. http://dx.doi.org/10.3384/cu.2000.1525.135251.

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While hotly debated in political contexts, abortion has seldom figured in explicit terms in either literature or film in the United States. An exception is John Irving’s 1985 novel The Cider House Rules, which treats abortion insistently and explicitly. Although soon thirty years old, The Cider House Rules still functions as an important voice in the ongoing discussion about reproductive rights, responsibilities, and politics. Irving represents abortion as primarily a women’s health issue and a political issue, but also stresses the power and responsibility of men in abortion policy and debate

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Nathan, M. Moore. ""Unfinished Business" of U.S. Diplomacy & the Cultural Cold War." ISRG Journal of Humanities and Cultural Studies (ISRGJHCS) I, no. III (2024): 32–39. https://doi.org/10.5281/zenodo.13382946.

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<strong>Abstract</strong> <em>American intervention abroad took on varied forms of creative representation during the Cold War. In the period from the 1950s through to the fall of the Soviet Union, a host of new and inventive platforms emerged promoting free expression in things like exhibitions, world fairs, literary works, and radio broadcasting. These are some of the focal points historians have studied in detail. They were wielded by the United States government as a tactic to shape the hearts and minds of international spectators. This historiographical essay addresses the set of argument

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KURDASHVILI, Lasha. "The Tendencies of Technological Political Culture of the Depression Era in the Movie “The Wizard of Oz”." Journal in Humanities 3, no. 2 (2015): 19–22. http://dx.doi.org/10.31578/hum.v3i2.287.

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The attitude towards the technological progress in the United States throughout history varied from the euphoria to the paranoia. In the 1930s, when the Depression put the majority of the American industries into the financial hole, with the percentage of unemployment close to 1/3 of the nation`s population, technological progress seemed to be the recovery option, and at the same time the dangerous reason of surrogating the personal with “soulless” machinery. In the meanwhile the great industry of film making was gaining more and more cultural weight throughout the nation. Never before had the

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Dewantara, Jagad Aditya. "Natural rights on the book “Silent Springer” Critical Review of Ecological Citizenship." Jurnal Pendidikan PKN (Pancasila dan Kewarganegaraan) 5, no. 1 (2024): 1. http://dx.doi.org/10.26418/jppkn.v5i1.71751.

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Rachel Carson's book "Silent Spring" is often credited with kicking off the modern environmental protection movement. In the book, Carson details the destructive effects that synthetic pesticides, particularly D.D.T., can have on ecosystems and human health. This book, first released in September of 1962, coincidentally served as a gathering place for those involved in the environmental movement. Carson argues in his book that pesticides such as D.D.T. eliminate bugs and wreck the food chain and the natural environment. It poses a risk to the populations of birds and fish and might make youngs

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Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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Francisco, André. "“Small town, big hell”." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3134.

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Introduction The city is one of the most common iconographies associated with film noir, particularly at night. For several noir critics, the city is an inseparable and determining element in the definition, narrative structure, and aesthetic of film noir. However, while urban spaces dominate classic imagery, noir has also engaged significantly with rural and small-town settings. These spaces challenge the presumed centrality of the city, revealing noir’s capacity to explore moral decay, isolation, and violence beyond the urban landscape. This article examines the role of rural and small-town

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Schlotterbeck, Jesse. "Non-Urban Noirs: Rural Space in Moonrise, On Dangerous Ground, Thieves’ Highway, and They Live by Night." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.69.

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Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exc

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Dissertationen zum Thema "Film noir – United States – History and criticism"

McRae, Leanne. "Aliens, bodies and conspiracies: Regimes of truth in The X-files." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1247.

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The X-Files is a television program that first screened on Australian television in 1993. This thesis will investigate the role of The X-Files as a cultural text. The X-Files is a significant program, and has contributed to a shift in the way in which television texts represent ideas about society, knowledge and truth. This thesis argues that The X-Files presents ‘knowledge’ in particular ways, and makes it possible to think about the relationship between the body, knowledge, and society in ways which have not previously been so visible.

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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.<br>The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a

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Callahan, Sarah Francis. "A Wonder Whose Origin is not Known: The Importance of the Orphan Hero in Otherworldly Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3694/.

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The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrif

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McConnell, Sarah E. "The Key to Unlocking the Secret Window." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33226/.

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David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these tex

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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.

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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult

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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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Knightly, Patrick J. "Politics and the popular culture : an examination of the relationship between politics and film and music." 1999. https://scholarworks.umass.edu/theses/2551.

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O'Brien, Patrick Gerald. "Imagery and symbol of the airplane in American film, 1950-2004." Thesis, 2004. http://hdl.handle.net/10125/12046.

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Harper, Rowena. "Frontier mythology in the American teen film." 2009. http://hdl.handle.net/2440/56952.

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This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narrative

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Bücher zum Thema "Film noir – United States – History and criticism"

Fay, Jennifer. Film noir. Routledge, 2009.

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Oliver, Kelly. Noir anxiety. University of Minnesota Press, 2003.

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Hirsch, Foster. Detours and lost highways: A map of neo-noir. Limelight Editions, 1999.

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Étienne, Chaumeton, and Hammond, Paul, 1947 July 19-, eds. A panorama of American film noir, 1941-1953. City Lights Books, 2002.

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1947-, Silver Alain, and Ward Elizabeth 1952-, eds. Film noir: An encyclopedic reference to the American style. 3rd ed. Overlook Press, 1992.

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1947-, Silver Alain, and Ward Elizabeth 1952-, eds. An encyclopedic reference guide to film noir. Bloomsbury, 1988.

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Wager, Jans B. Dangerous dames: Women and representation in the Weimar street film and film noir. Ohio University Press, 1999.

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Fay, Jennifer. Film noir: Hard-boiled modernity and the cultures of globalization. Routledge, 2009.

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Rolls, Alistair. French and American noir: Dark crossings. Palgrave Macmillan, 2009.

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Rolls, Alistair. French and American noir: Dark crossings. Palgrave Macmillan, 2009.

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Buchteile zum Thema "Film noir – United States – History and criticism"

Parker, Luke. "Coda." In Nabokov Noir. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501766527.003.0006.

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This coda addresses Vladimir Nabokov's first American short story, “The Assistant Producer” (1943), as his summation of the Russian emigration's history through the medium of the cinema. In metafictional terms, Nabokov's first American short story is an exercise in freedom, criticizing America as a Russian émigré and Europe as a new American. By placing this work into the context of German émigré culture in the World War II-era United States, the chapter shows how Nabokov's cinema praxis approaches film noir from the unexpected angles of craft and audience triangulation. It argues that the dyn

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Avila, Eric. "5. The suburbanization of American culture." In American Cultural History: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190200589.003.0006.

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After World War II, the United States emerged as the world’s dominant superpower, inaugurating a golden age of prosperity and abundance. Depression and war were over, affording time to enjoy the comforts of domestic normalcy. Yet the cultural record of that moment belied the cause for optimism. “The suburbanization of American culture” describes how postwar American culture registered a new set of spatial and racial tensions and codified a new suburban way of life. It considers Hollywood’s film noir genre; the soaring popularity of television in the 1950s; the development of shopping malls and

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Mulvey, Laura. "Citizen Kane: From Log Cabin to Xanadu." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0008.

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Abstract Although The idea of embarking on a new analysis of the most written-about film in film history is daunting, I am using Citizen Kane for a specific and experimental purpose. That is, I want to speculate about certain areas of overlap between psychoanalysis and history and use the film, as it were, as a guinea pig. I have two further excuses for this project. First, although the history in question here is primarily that of the United States, I have tried to approach that history from a European perspective which, I feel, illuminates aspects of the film that have been over-looked. Seco

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