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

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Zeitschriftenartikel 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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1

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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Girardin, Christine. "The Enola Gay in History and Memory." Asia-Pacific Journal 3, no. 4 (2005). https://doi.org/10.1017/s1557466005001804.

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With the 60th anniversary of the atomic bombings fast approaching, commemorative events and symposia are being planned across the globe in places as diverse, yet symbolically significant, as Hiroshima, Nagasaki, Tinian, London, Tokyo, Washington, and Los Alamos. While forthcoming books by historians Tsuyoshi Hasegawa, Gerard DeGroot, and Martin Sherwin and Kai Bird will advance the scholarly criticism of the bombings and show that viable alternatives for quickly ending the war without a U.S. invasion of the Japanese homeland existed, the bombs’ defenders, including Gen. Paul Tibbets, the pilot

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Killeen, Padraic. "Ecology, Materialism, and Transfiguration." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3173.

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Introduction An ecologically responsive parable about biological mutation in a post-apocalyptic environment, David Cronenberg’s Crimes of the Future (2022) was hailed on release as a “dream-noir” (Ehrlich), a “sci-fi noir” (Oller), and a “body-noir” (“Crimes”). The use of the term ‘noir’ here is enigmatic. As is often the case, the term is deployed to address a quality that otherwise resists easy identification. Noir has, of course, acquired a multitude of connotations and aesthetic legacies over the years. As I have observed elsewhere, one of those legacies is a concern with the physicality o

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Franks, Rachel, Simon Dwyer, and Denise N. Rall. "Re-imagine." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1050.

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To re-imagine can, at one extreme, be a casual thought (what if I moved all the furniture in the living room?) and, at the other, re-imagining can be a complex process (what if I adapt a classic text into a major film?). There is a long history of working with the ideas of others and of re-working our own ideas. Of taking a concept and re-imagining it into something that is similar to the original and yet offers something new. Such re-imaginations are all around us; from the various interpretations of the Sherlock Holmes stories to the adjustments made, often over generations, to family recipe

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McNicol, Emma Jane Brosnan. "Gendered Violence as Revelation in John le Carré’s The Night Manager." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1665.

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Susanne Bier and David Farr’s 2016 television adaptation of John le Carré’s novel The Night Manager (“Manager”) indexes the resilience of traditional Christian misogyny in contemporary British-American media. In the first episode of the series, Sophie (Aure Atika)’s partner Freddie Hamid (David Avery) brutally beats her. In the subsequent scene, despite her scars, Sophie has a sex scene with the eponymous night manager Pine (Tom Hiddlestone). Sophie’s eye socket and the left side of her face bear fresh bruises and wounds throughout the sex scene. And in the sixth and final episode, Pine and Je

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Blackwood, Gemma. "X-Rated Indie Film and A24." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3076.

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This article investigates the ways that Ti West’s X horror film series uses the premise of pre-Internet American porno filmmaking as a grimy yet cool marker of American independent cinematic authenticity. The trilogy – composed of X (2022), Pearl (2022), and MaXXXine (2024) – uses the slasher horror genre to examine the porn industry and the history of twentieth-century cinema, with a particular focus on the so-called “golden age” (1969–1984) of 35mm feature film American pornography (Paasonen and Saarenmaa). Arguably, in these films the slasher horror genre reflects conventions previously ass

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Kolff, Louise Moana. "New Nordic Mythologies." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1328.

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IntroductionNordic mythology, also known as Norse mythology, is a term used to describe Medieval creation myths and tales of Gods and otherworldly realms, told and retold by Northern Germanic and Scandinavian tribes of the ninth century AD (see for example Gaiman).I discuss a new type of Nordic mythology that is being created through popular culture, social media, books, and television shows. I am interested in how contemporary portrayals of the Nordic countries has created a kind of mythological place called Scandinavia, where things, people, and ideas are better than in other places.Whereas

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Gehrmann, Richard. "War, Snipers, and Rage from Enemy at the Gates to American Sniper." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1506.

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The concept of war is inextricably linked to violence, and military action almost always resounds with the emotion and language of rage. Since the War on Terror began in September 2001, post-9/11 expressions of terror and rage have influenced academics to evaluate rage and its meanings (Gildersleeve and Gehrmann). Of course, it has directly influenced the lives of those affected by global conflicts in war-torn regions of the Middle East and North Africa. The populace there has reacted violently to military invasions with a deep sense of rage, while in the affluent West, rage has also infiltrat

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Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin

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Brennan, Claire. "Australia's Northern Safari." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1285.

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IntroductionFilmed during a 1955 family trip from Perth to the Gulf of Carpentaria, Keith Adams’s Northern Safari showed to packed houses across Australia, and in some overseas locations, across three decades. Essentially a home movie, initially accompanied by live commentary and subsequently by a homemade sound track, it tapped into audiences’ sense of Australia’s north as a place of adventure. In the film Adams interacts with the animals of northern Australia (often by killing them), and while by 1971 the violence apparent in the film was attracting criticism in letters to newspapers, the fi

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Coghlan, Jo, Lisa J. Hackett, and Huw Nolan. "Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3072.

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The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dr

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Ryder, Paul, and Daniel Binns. "The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1256.

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The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway

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Schmidt, Gordon, and Clint Martin. "Who Will Control the Black Bird?" M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3138.

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Introduction In The Maltese Falcon original novel (Hammett) and film adaptations, most famously in the 1941 John Huston adaptation starring Humphrey Bogart, we see a number of people scrambling to secure an artifact seen as priceless, the black bird statue of the title. Set in 1920s San Francisco, The Maltese Falcon is recognised as one of the earliest original noir classics. Sam Spade and Miles Archer, private investigators, are hired by a mysterious woman to follow her lover, Floyd Thursby. The next morning both Archer and Thursby are dead, and Spade is stuck in the middle. He soon realises

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Rolls, Alistair. "The Re-imagining Inherent in Crime Fiction Translation." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1028.

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Introduction When a text is said to be re-appropriated, it is at times unclear to what extent this appropriation is secondary, repeated, new; certainly, the difference between a reiteration and an iteration has more to do with emphasis than any (re)duplication. And at a moment in the development of crime fiction in France when the retranslation of now apparently dated French translations of the works of classic American hardboiled novels (especially those of authors like Dashiell Hammett, whose novels were published in Marcel Duhamel’s Série Noire at Gallimard in the decades following the end

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Losh, Elizabeth. "Artificial Intelligence." M/C Journal 10, no. 5 (2007). http://dx.doi.org/10.5204/mcj.2710.

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   On the morning of Thursday, 4 May 2006, the United States House Permanent Select Committee on Intelligence held an open hearing entitled “Terrorist Use of the Internet.” The Intelligence committee meeting was scheduled to take place in Room 1302 of the Longworth Office Building, a Depression-era structure with a neoclassical façade. Because of a dysfunctional elevator, some of the congressional representatives were late to the meeting. During the testimony about the newest political applications for cutting-edge digital technology, the microphones periodically malfunctione

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Jaaniste, Luke Oliver. "The Ambience of Ambience." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.238.

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Well, you couldn't control the situation to that extent. The world just comes in on top of you. It creeps under the door. It falls out of the sky. It's all around. (Leunig) Like the world that cartoonist Michael Leunig describes, ambience is all around. Everywhere you go. You cannot get away from it. You cannot hide from it. You cannot be without it. For ambience is that which surrounds us, that which pervades. Always-on. Always by-your-side. Always already. Here, there and everywhere. Super-surround-sound. Immersive. Networked and cloudy. Ubiquitous. Although you cannot avoid ambience, you ma

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Kabir, Nahid. "Depiction of Muslims in Selected Australian Media." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2642.

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    Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties. —John Milton (1608-1674)   Introduction  The publication of 12 cartoons depicting images of Prophet Mohammed [Peace Be Upon Him] first in Denmark’s Jyllands-Posten on 30 September 2005, and later reprinted in European media and two New Zealand newspapers, sparked protests around the Muslim world. The Australian newspapers – with the exception of The Courier-Mail, which published one cartoon – refrained from reprinting the cartoons, a

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Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a

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Kennedy, Ümit. "Exploring YouTube as a Transformative Tool in the “The Power of MAKEUP!” Movement." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1127.

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IntroductionSince its launch in 2005, YouTube has fast become one of the most popular video sharing sites, one of the largest sources of user generated content, and one of the most frequently visited sites globally (Burgess and Green). As YouTube’s popularity has increased, more and more people have taken up the site’s invitation to “Broadcast Yourself.” Vlogging (video blogging) on YouTube has increased in popularity, creating new genres and communities. Vlogging not only allows individuals to create their own mediated content for mass consumption—making it a site for participatory culture (B

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Goggin, Gerard, and Christopher Newell. "Fame and Disability." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2404.

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When we think of disability today in the Western world, Christopher Reeve most likely comes to mind. A film star who captured people’s imagination as Superman, Reeve was already a celebrity before he took the fall that would lead to his new position in the fame game: the role of super-crip. As a person with acquired quadriplegia, Christopher Reeve has become both the epitome of disability in Western culture — the powerful cultural myth of disability as tragedy and catastrophe — and, in an intimately related way, the icon for the high-technology quest for cure. The case of Reeve is fascinating,

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Morgan, Carol. "Capitalistic Ideology as an 'Interpersonal Game'." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1880.

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"Outwit, Outplay, Outlast" "All entertainment has hidden meanings, revealing the nature of the culture that created it" ( 6). This quotation has no greater relevance than for the most powerful entertainment medium of all: television. In fact, television has arguably become part of the "almost unnoticed working equipment of civilisations" (Cater 1). In other words, TV seriously affects our culture, our society, and our lives; it affects the way we perceive and approach reality (see Cantor and Cantor, 1992; Corcoran, 1984; Freedman, 1990; Novak, 1975). In this essay, I argue that the American te

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Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a

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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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DeCook, Julia Rose. "Trust Me, I’m Trolling: Irony and the Alt-Right’s Political Aesthetic." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1655.

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In August 2017, a white supremacist rally marketed as “Unite the Right” was held in Charlottesville, Virginia. In participation were members of the alt-right, including neo-nazis, white nationalists, neo-confederates, and other hate groups (Atkinson). The rally swiftly erupted in violence between white supremacists and counter protestors, culminating in the death of a counter-protester named Heather Heyer, who was struck by a car driven by white supremacist James Alex Fields, and leaving dozens injured. Terry McQuliffe, the Governor of Virginia, declared a state of emergency on August 12, and

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Marsh, Victor. "The Evolution of a Meme Cluster: A Personal Account of a Countercultural Odyssey through The Age of Aquarius." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.888.

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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of q

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