Academic literature on the topic 'Film noir'
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Journal articles on the topic "Film noir"
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Miller, Laurence. "How Many Films Noirs are there?: How Statistics can Help Answer this Question." Empirical Studies of the Arts 7, no. 1 (January 1989): 51–55. http://dx.doi.org/10.2190/1a3q-a3dq-23xg-6vg4.
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Film noir refers to a body of films made in America from 1940–1959 and which is defined by a characteristic and particular content and style. Although there is agreement as to what constitutes this content and style, there is considerable disagreement as to which films constitute film noir. Appropriate statistical analyses are performed given the constraints imposed by the current method of film scholars of independently deriving their particular lists of films noirs. Much more powerful statistical analyses are discussed. These would facilitate consensus regarding which films are film noir, but would require that all film scholars independently judge the same list of films.
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Liu, Siwei. "The Research on the Representational Strategies of Femme Fatale in Contemporary Chinese Film-noir." BCP Education & Psychology 8 (February 27, 2023): 314–22. http://dx.doi.org/10.54691/bcpep.v8i.4346.
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In 2014, Chinese director Diao Yinan’s feature Black Coal, Thin Ice wins the Golden Bear Award for Best Director at the 64th Berlin Film Festival, sparking enthusiastic discussion on the prospect of the so-called 'Chinese film-noir'. Among the classic noir elements that sparked discussion in these films, the lethal woman, or the ‘femme fatale’ stands out to be the one that attracts the most attention. In the span of a decade, the Chinese femme fatale varies quite enormously in her role in the narrative and the gender implication her relationship with the noir hero represents. This essay will build on Mark Conrad’s definition of film-noir, Jack Boozer’s categorization of femme fatale, and Elisabeth Bronfen’s tragic theory to analyze the construction of femme fatale in 2010s Chinese film noir. Equipped with these theoretical tools, this essay will focus on recent Chinese films-noirs and draw connections between their different representational strategy of the femme fatale to complete their noir narrative. This essay argues that while films like the Hunt Down (2019) and Long Day’s Journey Into Night (2018) approaches the lethal woman in the classic androcentric or even misogynist way, Black Coal, Thin Ice (2014) and the Wild Goose Lake (2019) endows her with more subjectivity and agency while complicating her relationship with the noir hero.
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Lee, Sander H. "Film Gris v. Film Noir." Film and Philosophy 26 (2022): 123–41. http://dx.doi.org/10.5840/filmphil202110158.
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In this essay, I argue that the distinction between film gris and film noir, introduced by Jon Tuska in his 1984 book Dark Cinema, enhances our appreciation of the philosophical attributes of such films. For Tuska, there are important differences between a film gris and a film noir. While a film gris may have a number of noir attributes (a shadowy noir visual style, a gritty urban setting, cynical characters, etc.) a genuine film noir is not merely a police procedural and must not have a happy ending, I will also argue that a film’s narrative perspective plays a vital role in determining whether its status is that of a film noir. I will make these arguments by examining a wide variety of films including The Maltese Falcon (1941), Out of the Past (1947), He Walks by Night (1948), The Narrow Margin (1952), Double Indemnity (1944), Repeat Performance (1947), and The Wrong Man (1956).
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Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.
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The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Crime thrillers that were retrospectively labelled as film noirs, were not only known and enjoyed by the Greek public from 1945 onwards, but also their conventions and imagery were used in the journalistic discourse, showing a wider diffusion to society that was not only limited to communities of cinephiles. From this perspective, we examine the vocabulary and terminology invented and established by Greek reviewers and distributors, in order to describe the key features of the films that today we classify as film noir. We discuss how emblematic films that today form the canon of film noir were received at that time, as well as the negative discourses that appear at the same time in the public sphere, especially around issues of ‘moral panic’, violence and delinquency. Furthermore, the distinction in the reception of French vs. American films enables us to apprehend the different ideological stances towards these films and to understand why French crime films were more influential in Greece than their American counterparts.
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Hickman, Roger. "Max Steiner." Journal of Film Music 9, no. 1-2 (February 24, 2022): 121–27. http://dx.doi.org/10.1558/jfm.20238.
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Max Steiner provided music for over 300 films during a distinguished career that extended over three decades. He is justifiably celebrated for his scores in multiple film genres, including historical epics, romances, horror movies, and dramas. Less well known are Steiner’s contributions to film noir. Yet he is a leading composer for this dark trend in Hollywood filmmaking. Three factors go into this assessment: the number of noir films that he scored, the prestige of those films, and the overall quality of his music. The span of Steiner’s noir composition is nearly identical to that of the era itself, which is generally defined as 1940–1959. Depending on which films are viewed as film noirs, Steiner is the third or fourth most prolific composer for the genre. Among these are classics such as Mildred Pierce, The Big Sleep, Key Largo, and White Heat, a roster of noir heavies unmatched by any other composer. For the most part, his music for these films consistently reflects traits that we associate with Steiner’s other film scores. This overview focus on two qualities in these films: the use of pre-composed music and thematic material as characterization. Included in this survey are Steiner’s scores for Mildred Pierce, The Woman in White, The Beast with Five Fingers, City for Conquest, and The Death of a Scoundrel.
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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.
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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/2753-7080/1/ahr_001.
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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
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Toderici, Radu. "Late Modernist Noirs: Béla Tarr’s Damnation/ Kárhozat and György Fehér’s Passion/ Szenvedély." Caietele Echinox 43 (December 1, 2022): 104–13. http://dx.doi.org/10.24193/cechinox.2022.43.06.
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"Since the 80s, a large number of films, manifestly indebted to the classic American noir films of the 40s and 50s, have been appropriately labeled neo-noirs. An interesting, but less well documented version of this phenomenon, mostly American in its nature, is the case of some of the films belonging to the so-called Hungarian “Black Series”. Made at the end of the 80s and during the 90s, these films are modernist, stylized versions of the classic noir films. This essay tries to give an outline of this East European reappraisal of the noir film, by insisting on the narrative and aesthetical strategies used by directors such as Béla Tarr or György Fehér in order to deconstruct the classical genre."
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Zhu, Xinchen. "Transcultural Appropriation and Aesthetic Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense Thriller Films: A Case Study of Who Killed Cock Robin (2017)." Arts 13, no. 3 (May 28, 2024): 96. http://dx.doi.org/10.3390/arts13030096.
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The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir.
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Varmazi, Eleni, and Funda Kaya. "Debates about the generic ontology of film noir." Catalan Journal of Communication & Cultural Studies 12, no. 1 (April 1, 2020): 145–52. http://dx.doi.org/10.1386/cjcs_00019_1.
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This viewpoint discusses the various definitions given to classic film noir in order to show how the concept of film noir is difficult to demarcate as a genre, remaining a debatable subject among theoreticians. On a broader level, it might be argued that these discussions are linked with the intertextuality, the dynamism and the hybridity of film genres. One can also argue that film noir stands as one of the preliminary examples of such hybridity in the history of Western narrative cinema. Such a debate is also connected to film noir’s deviance from Hollywood conventions. While inhabiting elements from these conventions, classic noir has been affected by European film movements whilst influencing them. Noir holds a critical position to the social conditions of its era, defined usually from the early 1940s to the late 1950s. It also produces generic stereotypical characters such as the ‘hardboiled’ detective and the femme fatale that are both embraced and highly criticized by film theoreticians. However, film noir is an ambivalent concept, a category of films that can be sensed, yet resists delimitation within strict boundaries.
Dissertations / Theses on the topic "Film noir"
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Jones, Matthew. "Becoming 'film noir' : film noir adaptions of hard-boiled fiction, 1944-46." Thesis, University of Wales Trinity Saint David, 2018. http://repository.uwtsd.ac.uk/900/.
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This thesis interrogates a number of issues that surround what critics have designated ‘film noir’ and its relationship to that branch of modern American literature identified as ‘hard- boiled fiction’. Thus, the main subject matter for the thesis consists of selected films noirs from 1944—46, and the novels of Dashiell Hammett, James M. Cain, and Raymond Chandler. The thesis argues that the adaptation process is of central significance to the ‘film noir’ debate and to film noir itself. While it argues for a dialogic exchange between ‘noir’ and ‘hard-boiled fiction’, it proposes as well that there was also a fundamental incompatibility between the two modes. The thesis discusses the difficulties encountered by Hollywood studios in adapting Cain’s work due to the candid representation of ‘adult’ themes, and how this conflicted with Hollywood censorship, carried out by the Production Code Administration (PCA). In order for Cain’s fiction to be adapted, it is argued, Hollywood conventions regarding the representation of sex and violence and the PCA guidelines by which they were governed had to undergo radical change. The critical and scholarly contexts for this argument include debates concerning influence, censorship, and the involvement of the PCA with the adaptation process, and the notion, as maintained by elements within the revisionist debate, that ‘film noir’ has no conceptual or theoretical basis. The thesis challenges revisionist arguments that ‘noir’ was ‘invented’ by French critics in 1946, and argues that although the genre was named retrospectively, generic practice was established by Hollywood producers in acts of ‘applied criticism’ prior to production, from around 1944 onwards. The thesis contextualises the generic practice of ‘noir’ within the history of film, while arguing simultaneously for historic changes in Hollywood film-making of the mid-1940s in terms of the representation of ‘adult’ themes, and the relaxation of the Production Code. The thesis discusses how criticism has tended to privilege other media, such as the plastic arts and literature, over film, and argues that notions of artistic style and influence must give consideration to the immanence of the film production context. The notion that ‘noir’ was influenced by the artistic movement known as ‘German Expressionism’ has been questioned by the revisionist debate. The thesis examines and discusses key German films of the Weimar period, when the artistic movement ‘Expressionism’ flourished, arguing that the Weimar influence is discernible in the generic practice of ‘noir’. However, the thesis makes a case that this is, primarily, the legacy of Weimar cinema, and that the influence of ‘Expressionism’ should be discussed within this medium-specific context. The thesis examines the connections between the work of a number of influential directors and the signifying practice of ‘noir’, including Murnau, Lang, Hitchcock and Hawks. It is proposed that certain ‘noir’ conventions can be traced back to the work of these influential directors. The thesis proposes a way of understanding ‘film noir’ as a genre, and argues that the adaptation process needs to be seen as a nexus for various discourses, including directorial style, screenwriting, cinematography, the studio system, and censorship, in addition to the relationship between the film and the novelistic text.
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Dominková, Petra. "Film noir a příroda." Doctoral thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78200.
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Dahan, Patricia Irène. "Psychanalyse et film noir américain." Paris 3, 1988. http://www.theses.fr/1988PA030003.
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On peut dire que le cinema, comme tout art, est temoin de son temps en ce qu'il reflete les preoccupations, les phobies, les interets contemporains a sa societe, etc. En partant du principe que chaque epoque delivre un message, je m'emploie a essayer de determiner la nature du temoignage du film noir americain en proposant une analyse de ce cinema au travers de ses caracteristiques, de ses codes, de ses origines, de son contexte economique, historique et social. Un des moyens de lecture choisi pour eclairer ces films est la psychanlyse, dans le sens ou elle est bien ce qui permet de degager des principes universels quant au fonctionnement conscient inconscient de l'individu, entre ce qui est emis (le realisateur) et ce qui est recu (le spectateur). Car en filigrane, se joue dans ces films le drame que chaque individu peut vivre face aux divers obstacles qu'il rencontre dans la realite ou dans la fiction. Une autre grille de lecture nous est fournie par la semiologie, demarche encore recente, qui se veut reunir plusieurs parametres pour organiser le sens, et qui m'interesse en ce qu'elle integre tout ce qui distingue une civilisation (economie, architecture, mode,. . . ). Je m'attache donc a demontrer en quoi les films noirs americains peuvent reproduire et systematiser certains concepts d'analyse, determiner lesquels et pourquoi, et les vulgariserOne can that cinema, as any art, is a witness of its time in the sense that it reflects contemporary interests of its society. Considering that each period of time delivers a message, my work is an attempt to determine what type of message is conveyed by american film noir through an analysis of this cinema; its codes; archetypes; origins; economical, social and historical context. One of the processes chosen to higlight these films is psychoanalysis, as it enables the use of universal principles regarding the conscious unconscious functioning of the individual, between what is sent out (the director) and what is received (the audience). Because the drama each individual may experience in reality or fiction can be traced in the set up of these films. Another process of analysis is given by a recently developed science : semiology, which unites various parameters to organize the sense, it interests me as it integrates all that distinguishes a civilisation (economics, architecture, fashion,. . . ). My work aims at demonstrating in what way american film noir can reproduce and systematize some analytical concepts, determine which ones and why, and vulgarize them
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Poole, Mark William. "Film noir and the films of Christopher Nolan." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/16688.
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Mestrado em Estudos InglesesFilm noir has returned as a commercially attractive genre in the last ten years following the success of Pulp Fiction. This thesis discusses the differences of style and content and reasons for these differences between the present incarnation of film noir and its predecessors. As a director whose three feature films to date all contain noir elements, the work of Christopher Nolan is contextualized with that of his contemporaries while the purpose of his expression of these elements is also considered.
O Film Noir regressou como género comercialmente atraente nos últimos dez anos e na sequência do sucesso de Pulp Fiction. Nesta tese tentamos analisar as diferenças de estilo e de conteúdo, e as razões para estas diferenças entre a incarnação actual do Film Noir e a dos seus antecessores. Enquanto realizador cujos filmes até hoje apresentados contêm elementos de Film Noir, a obra de Christopher Nolan é contextualizada com a dos seus contemporâneos, ao mesmo tempo que se analisa igualmente o objectivo da expressão destes elementos.
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Dahan, Patricia Irène. "Psychanalyse et film noir américain." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37612858k.
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Kierstead, Joshua Anthony. "Noir of the past: anatomy of the historical film noir." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5791.
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This dissertation documents how a series of cynical 1940s Hollywood films set in historical eras served as a forum for Hollywood to reconcile the complex relationship between America and its European past. While these films are rarely discussed in the ongoing discourse surrounding film noir, this study posits that they function as “noirs of the past” by transposing the pessimism and trauma surrounding World War II to the distant American and European past in a narrative and stylistic manner consistent with film noir. Film noir is a branching term to describe a group of 1940s and 50s Hollywood crime melodramas that are known for their cynical worldviews and femme fatales. Produced during the war and postwar era, film noirs primarily depict squalid urban settings that underscore the broken promise that is the American Dream. However, this project maintains that many of these noirs also critique American society through historical settings that trace present-day class and gender problems back to the European aristocracy and its excesses.
Noirs of the past are universally ignored in debates surrounding historical films because they appear at first blush to have little interest in depicting historical events in a precise manner. This is for good reason: they openly resist historical accuracy by employing devices that highlight their artificiality. The noir of the past’s lack of historical verisimilitude further extends to character types, dialogue, costumes, and aesthetics that feel closer in spirit to the gloomy shadows of contemporary-set film noirs than the glossy and monumental historical films of the 1940s. Through their overlap of historical and contemporary 1940s signifiers, “noirs of the past” construct a sense of location and time that borrows from both the past and present to demonstrate the cyclical nature of events and figures across history.
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Clayton, Leigh. "Authentic heroes : existentialism and film noir." Thesis, University of Aberdeen, 1996. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU099168.
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Film exhibits an existential time structure. It presents characters and events in the present moment and as the film progresses the future of the characters is built from their past within the film. Characterisation in film differs from that of the novel primarily in that characters are seen as they become what they are through their actions. In the novel a character is already fixed. Film also differs from theatre in that the differing use of space allows for a more intimate acting style on the part of the actor and more involvement on the part of the viewer. Film noir, in particular, manifests existential themes in its plot lines and characterisation, e.g. alienation, anxiety and the developmental nature of personality. A number of theorists have attempted to define film noir and to account for its distinctive look. These include David Bordwell, Borde and Chaumeton and Christine Gledhill. So far no definition has successfully accounted for all the features present in these films. An existential analysis offers a new way to approach this problem. Due to its distinctive use of philosophical themes film noir constitutes a separate and continuing genre. A noir paradigm can be established by isolating these philosophical themes and the stylistic methods which express them. This can be used as a criterion to identify noir films. Noirs can be divided into different periods by identifying the dominant theme of various decades. These reflect the social conditions of the time as well as popular response to existential philosophers, for instance, Sartre and Nietzsche who have both been considerable popularised. In addition noir can be seen as a response to restrictive Hollywood practices.
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Hakl, Vilém. "Chaos noir." Doctoral thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253671.
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Butler, David George. "Artistry in noir : the use and representation of jazz in film noir." Thesis, University of Manchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515501.
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Jazz has been associated with crime and immorality since early forms of the music were heard in. the brothels of New Orleans and the gangster-owned clubs of the "Jazz Age. " This association encouraged the use of jazz in film noir: tales of anxiety and urban decay that flourished in American cinema during the 1940s and 1950s. Yet, the extent to which jazz was used in film noir is the source of some confusion. The collaboration between the two idioms has often been alluded to but seldom explored in detail. Contemporary noirs, such as Body Heat (1981) and the series Fallen Angels (1993), have used jazz to evoke the classic period of film noir thus contributing to a "retrospective illusion" of the relationship between these idioms. Literature which refers to this relationship tends to discuss jazz and film noir in general rather than distinguishing between widely differing styles and periods of production. This lack of specificity, particularly regarding jazz, has resulted in considerable misunderstanding. This thesis seeks to determine the true extent of the involvement of jazz with film noir and why it has often been "taken for granted. " The thesis adopts an interdisciplinary approach that incorporates film theory, specifically work concerned with racial and gender discourses, sociology and music history. Beginning with a discussion of the relevant literature, the thesis suggests that the association of jazz with the noir themes of sex, crime and immorality stems from an understanding of black culture as being expressive of primitivism and irrationality that was prevalent in white imperialist ideologies of the eighteenth and nineteenth centuries. Although contemporary writing and film noirs often refer to the modernist jazz style of bebop, which emerged in the mid-1940s at the same time as film noir, as the sound of the classic noir period, the thesis suggests that prevailing racial attitudes and conventions of 1940s film meant that the fundamentally black and intellectual nature of bebop could not be represented in noir of this time. The thesis places the films discussed in their historical context and makes considerable use of archival sources and documentation for extended studies of Phantom Lady (1944), Young Man with a Horn (1950) and I Want To Live! (1958). The tensions created by the involvement of jazz in these productions become more evident as a result of this archival material. The emergence of the jazz or jazz inflected score in films of the 1950s is examined as is the proliferation of jazz scores in television noir of the late 1950s and early 1960s. The penultimate chapter considers the use of jazz in neo-noirs of the last twenty-five years, particularly Taxi Driver (1976) and The Last Seduction (1994), before offering thoughts for further work and a summary of the thesis in the conclusion
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Gladman, Matthew J. "Film Noir--Purveyor of Cold War Anxiety." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1293817877.
Full textBooks on the topic "Film noir"
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Luhr, William. Film Noir. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355956.
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printer, Peich Michael, and Aralia Press, eds. Film noir. [West Chester, Pennsylvania]: Aralia Press, 2014.
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Landau, David. Film Noir Production. New York: Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315511733.
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1947-, Silver Alain, and Ursini James, eds. Film noir reader. 8th ed. New York: Limelight Editions, 2005.
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Silver, Alain, and James Ursini. Film noir, the directors. Milwaukee, WI: Applause Theatre & Cinema Books, 2012.
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Duncan, Paul, Jürgen Müller, James Ursini, and Alain Silver. Film Noir. TASCHEN, 2017.
Find full textBook chapters on the topic "Film noir"
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Winter, Rainer. "Film Noir." In Handbuch Filmsoziologie, 1–21. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-10947-9_50-1.
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Hockley, Luke. "Film noir." In Jung & Film, 177–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315783284-13.
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Winter, Rainer. "Film Noir." In Handbuch Filmsoziologie, 729–49. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-10729-1_50.
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"Film Noir." In The Palgrave Encyclopedia of Urban Literary Studies, 656. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_300285.
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"Film Noir." In Strange Journey, 134–46. Academic Studies Press, 2020. http://dx.doi.org/10.2307/j.ctv1zjg3f8.14.
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"Film Noir:." In Why the Assembly Disbanded, 25–27. Fordham University Press, 2022. http://dx.doi.org/10.2307/j.ctv279508p.13.
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"Film Noir." In Genre and Hollywood, 149–74. Routledge, 2005. http://dx.doi.org/10.4324/9780203980781-12.
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Rohdie, Sam. "Film noir." In Film Modernism, 75–76. Manchester University Press, 2015. http://dx.doi.org/10.7228/manchester/9781784992637.003.0018.
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Rohdie, Sam. "Film noir." In Film modernism. Manchester University Press, 2015. http://dx.doi.org/10.7765/9781784996680.00023.
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"Film noir." In An Introduction to Studying Popular Culture, 131–66. Routledge, 2014. http://dx.doi.org/10.4324/9781315005768-11.
Full textConference papers on the topic "Film noir"
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Mologni, João, and Francisco Teixeira. "Film noir reconfigured in the Essay-film 33, by Kiko Goifman." In Congresso de Iniciação Científica UNICAMP. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/revpibic2720192428.
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Magiru, Anca, and Ionel Magiru. "AMERICAN FILM NOIR, MYSTERY CLASSICS AND LEGAL CLASSROOM: AN E-LEARNING INTERDISCIPLINARY APPROACH." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-102.
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This paper shows how to explore, in the English class for law students, the film noir based on novels, some classic films which are seen as vehicles in order to go deeply into popular beliefs about law and society. The paper wants to be the support for a course to-be syllabus. It will be a systematic, comprehensive film-as-law approach which asks how film about law can constitute a legal culture beyond the film. The paper is an example of law and film studies, itself a sub-discipline of law and cultural studies. Beyond methodological innovation, cultural studies can promote change in legal studies by widening the moments of subjectivity that are even considered in the analysis of law and legality. This research of classic American film noir and mystery classics, based on American cultural studies, political and social conflicts, is quite new in Romania. Therefore, the investigation will be a complex process in which seven classic American film noirs (1940s-1950s) and the novels which they are based on will interact dinamically with the social background in order to create the agenda of changes on the homefront, postwar years, international tensions, gender and family uncertainties in an American unsettled decade. As movies and literature scholarship is one of the most exciting of recent interdisciplnary ventures, it has an enormous potential in the law school classroom as a positive and popular measure. Some general features of the American film noir will provide the background to the topics and the legal system will be set within the framework with\ particular reference to the social conflicts.The way in which law and the protagonists are portrayed in film noir and literature is a fascinating subject for the professors of law and law students. I think that in Romanian law schools, films and classic literature with a legal theme should/could be used to identify various aspects of legal activity ranging from legal practice (i.e. intrinsic lawyer skills including legal argument, negotiation and advocacy) to various aspects of the legal process (e.g. the function of the judge and jury) as well as important elements of legal and ethical theory. I will conduct research on the Law Through Film and Literature with a viewpoint to writing a textbook and related teacher's manual that can be used by myself and other professors to teach this subject.
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Dellinger, Karen. "No City for Fatal Women: Gender, Power, and Noir Convention in Marvel’s Jessica Jones." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.5.
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Bostancı, Pınar. "YAĞMURUN ARDINA GİZLENEN ŞEHİR: DAVID FINCHER’IN SEVEN (1995) FİLMİNDE KENT ATMOSFERİ VE ATMOSFERİN ANLATIYA ETKİSİ." In 3. Uluslararası Sinema Sempozyumu. Near East University, 2023. http://dx.doi.org/10.32955/neuilamer2023-11-0305.ch04.
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Kentler, bulunduğu bölge, sahip olduğu iklim, barındırdığı mimari yapılar, kent sakinleri ve zamana göre şekillenen ya da tüm bu bileşenleri biçimlendiren bir kimliğe sahiptir. Bu kimliğin temsilcilerinden biri ise kent atmosferidir. Kimi zaman gerçek kimi zaman hayal ürünü olan bir kentin atmosferini beyaz perde aracılığıyla izleyiciye deneyimletmek de sinema disiplininin çalışma alanına girmektedir. Sinema, temsil ettiği bağlam ve kent ile seyirciyi kendi gerçekliğine inandırırken temsil edilen mekân ve bağlam da sinematografik anlatıyı desteklemektedir. Anlatılanlar ışığında araştırma kapsamında, kent atmosferinin anlatıya nasıl etki ettiğinin incelenmesi amaçlanmıştır. Dolayısıyla, sinemada bir mekân olarak kentin hikâyenin izleyiciye ulaşmasında ne derece etkili olduğunun incelenmesi araştırmanın kapsamı dahilindedir. Nitel araştırma yönteminin kullanıldığı bu çalışmada, sinematik mekân analizi tekniğine yer verilmiştir. Araştırmanın örneklemini, yönettiği filmlerde kent atmosferine ve mekân temsillerine önem veren ünlü Amerikalı yönetmen David Fincher’ın 1995 yapımı Seven adlı filmi oluşturmaktadır. İncelemeler sonucunda: Karanlık, muğlak, yağmurlu ve gerilim dolu atmosferiyle yedi cinayetin çözümlenme hikâyesine eşlik eden bir kentin anlatıldığı filmin, film noir havasına sahip olduğu görülmüştür. Özellikle aydınlatma ve renk kullanımı ile dikkat çekici bir kent-mekân atmosferine sahip olan bu filmde kent atmosferinin hissedilmesine şehrin sesinin de etki ettiği tespit edilmiştir. Seven (1995)’da bu kentte yaşayanlara ve yaşanan olaylara tesir eden güçlü bir atmosfer temsili görülmektedir. Çalışma kapsamında yapılan incelemeler neticesinde, Seven (1995) filminde, yağmurun ardına gizlenen bir kent atmosferinin anlatıldığı ve sahip olduğu tüm öğelerle bu atmosferin anlatı ile kuvvetli bir etkileşim içerisinde olduğu sonucuna varılmıştır.
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Pan, Yanqi, Zhisheng Hu, Nan Zhang, Hao Hu, Wen Xia, Zhongming Jiang, Liang Shi, and Shiyi Li. "HNFFS: Revisiting the NOR Flash File System." In 2022 IEEE 11th Non-Volatile Memory Systems and Applications Symposium (NVMSA). IEEE, 2022. http://dx.doi.org/10.1109/nvmsa56066.2022.00012.
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Zhong, Mingjun, Meng Lin, Jinbiao Xiong, Yankai Li, and Yanhua Yang. "Numerical Simulation of Thermal Behavior of a Molten Droplet Covered With Vapor Film." In 2014 22nd International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/icone22-30293.
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When the molten fuel with high temperature falls into the cavity water, it will be dispersed to droplets which are covered with vapor films due to the rapid heat transfer with phase transition. This situation cannot be simply described by liquid-liquid nor gas-liquid systems. And there are not sufficient experimental studies on the behavior of droplet covered with vapor film because of the rapid reaction and the difficulty in capture of the film configuration. In this paper, A multi-phase code with the Volume of Fluid Method (VOF) is developed to simulate the behavior of droplet covered with vapor film. Thermal effect is considered. The simulation results indicate that the film thickness and material density have significant effect on the behavior of droplet. The situation assumed in Ciccarelli and Frost’s model is observed in current simulation of thermal droplet behavior.
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Rahman, Mosfequr, and John E. Jackson. "Parametric Study on Beam Deflection Using Photostrictive Optical Actuators: A Finite Element Modeling Approach." In ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-66703.
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The objective of this work is to study the effect of three important parameters such as photostrictive actuator thickness, incident light intensity and convective heat transfer coefficient on a silicon cantilever beam with thin photostrictive optical actuator film surface. The authors have developed a computational method useful for design of systems incorporating thin film photostrictive actuators. The element has been implemented in an in-house finite element code named BAMAFEM. A finite element for static analysis of photostrictive thin films has already been developed and verified with analytical analysis approach of another author. To the best of our knowledge, finite element parametric analysis of the photostrictive thin film has not been extensively studied, if studied at all. Photostrictive materials, such as PLZT, demonstrate significant photostrictive behavior under illumination by high-energy light, which can be considered a superposition of a bulk photovoltaic effect and a converse piezoelectric effect. Photostrictive actuators can directly convert photonic energy to mechanical motion. Photostrictive materials can produce strain as a result of irradiation from high-intensity light. Neither electric lead wires nor electric circuits are required. Thus, photostrictive actuators are relatively immune from electrical interference. They have potential use in numerous MEMS devices. At least from the computational point of view, it would be interesting to investigate the effect of different parameters in the actuation of beam using the thin film photostrictive actuators to develop a finite element model useful for design of numerous MEMS and NANO systems having photostrictive actuators.
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Li, Yi-Fan, and Keigo Iizuka. "Symmetrical and asymmetrical modes in a dielectric film bounded by two identical nonlinear media." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1993. http://dx.doi.org/10.1364/oam.1993.thdd.33.
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Rahman, Mosfequr, and John E. Jackson. "Finite Element Approach to Model Displacement Control of Smart Beams Using Photostrictive Optical Actuators." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-10757.
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The objective of this research work is to investigate the displacement control of smart beams of different boundary conditions using photostrictive optical actuators. The authors have developed a computational method useful for design of systems incorporating thin film photostrictive actuators. The element has been implemented in an in-house finite element code. A finite element for static analysis of photostrictive thin films has already been developed and verified with analytical analysis approach of another author. Also the effect of different parameters such as actuator thickness, incident light intensity and convective heat transfer coefficient in the actuation of beam using the thin film photostrictive actuators has been investigated by the authors. In this current work, derived finite element for static analysis of photostrictive thin films has been used to investigate the application of photostrictive actuators for optimum displacement control of beam structure of various boundary conditions. Studies are performed on the effects of various actuator location and length on photoactuation. Photostrictive materials are ferrodielectric ceramics that have a photostrictive effect. The photostrictive effect arises from a superposition of the photovoltaic effect and the converse piezoelectric effect. Photostrictive materials are (Pb, La)(Zr, Ti) O3 ceramics doped with WO3, called PLZT, exhibit large photostriction under uniform illumination of high-energy light. Photostrictive actuators can directly convert photonic energy to mechanical motion. Photostrictive materials can produce strain as a result of irradiation from high-intensity light. Neither electric lead wires nor electric circuits are required. Thus, photostrictive actuators are relatively immune from electrical interference. They have potential use in numerous MEMS devices where actuation of microbeams is a common phenomenon.
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Chen, X. L., W. H. Sutton, and M. A. Sanchez. "Film Boiling of Saturated Nitrogen in Horizontal Tubes of Double Pipe Heat Exchangers." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22777.
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The data of a nitrogen film boiling experiment in horizontal tubes are presented in the paper. The experiment condition was the same as the actual application, which is neither a uniform heat flux nor a uniform wall temperature condition. The purpose is trying to find a good method to calculate the heat transfer coefficient for actual film boiling applications. The experiment data are carefully analyzed and compared with some current available correlations. A combined method is recommended in this paper for average heat transfer coefficient of film boiling in horizontal tubes based on the understanding of flow regimes.
Reports on the topic "Film noir"
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Albrecht, Brian C., Thomas M. Phelan, and Nick Pretnar. Time Use and the Efficiency of Heterogeneous Markups. Federal Reserve Bank of Cleveland, November 2023. http://dx.doi.org/10.26509/frbc-wp-202328.
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What are the welfare implications of markup heterogeneity across firms? In standard monopolistic competition models, such heterogeneity implies inefficiency even in the presence of free entry. We enrich the standard model with heterogeneous firms so that preferences are non-separable in off market time and market consumption and show that this changes the welfare implications of markup heterogeneity. In this context, homogeneity of markups is neither necessary nor sufficient for efficiency. The marginal cost of the marginal firm is weakly inefficiently high when off-market time and market consumption are complements and inefficiently low when they are substitutes, and the equilibrium allocation devotes weakly too few resources to firm creation. However, when off-market time and market consumption are perfect complements, markups are heterogeneous across firms and yet the equilibrium allocation is efficient.
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Ginis, Isaac, Deborah Crowley, Peter Stempel, and Amanda Babson. The impact of sea level rise during nor?easters in New England: Acadia National Park, Boston Harbor Islands, Boston National Historical Park, and Cape Cod National Seashore. National Park Service, 2024. http://dx.doi.org/10.36967/2304306.
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This study examines the potential impact of sea level rise (SLR) caused by climate change on the effects of extratropical cyclones, also known as nor?easters, in four New England coastal parks: Acadia National Park (ACAD), Boston Harbor Islands National Recreation Area (BOHA), Boston National Historical Park (BOST) and Cape Cod National Seashore (CACO). A multi-method approach is employed, including a literature review, observational data analysis, coupled hydrodynamic-wave numerical modeling, 3D visualizations, and communication of findings. The literature review examines previous studies of nor?easters and associated storm surges in New England and SLR projections across the study domain due to climate change. The observational data analysis evaluates the characteristics of nor?easters and their effects, providing a basis for validating the model. Numerical modeling is performed using the Advanced Circulation (ADCIRC) model, coupled with the Simulating Waves in the Nearshore (SWAN) model to simulate storm surges and waves. The model was validated against available observations and demonstrated its ability to simulate water levels, inland inundation, and wave heights in the study area with high accuracy. The validated model was used to simulate three powerful nor?easters (April 2007, January 2018, and March 2018) and each storm was simulated for three sea levels, (1) a baseline mean sea level representative of the year 2020, as well as with a (2) 1 ft of SLR and (3) 1 m of SLR. Analysis of the model output was used to assess the vulnerability of the parks to nor?easters by examining peak impacts in the park areas. Additional simulations were conducted to evaluate the role of waves in predicting peak water levels and the impact of inlet configurations on storm surges within coastal embayments behind the barrier beach systems in the southern Cape Cod region. The project developed maps, three-dimensional visualizations, and an interpretive film to assist the parks in planning for resource management, maintenance, emergency management, visitor access, safety, education, and outreach. These tools provide a better understanding of the potential impacts of nor?easters and SLR and enable the parks to better prepare for future storms.
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Eslava, Marcela, Alvaro García-Marín, and Julián Messina. Inequality and Market Power in Latin America and the Caribbean. Inter-American Development Bank, October 2023. http://dx.doi.org/10.18235/0005234.
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Firms market power may exacerbate income inequality. We investigate this relationship among firms in Latin America and the Caribbean (LAC), where this phenomenon remains understudied. We use firm-level data for formal firms in 16 countries in LAC and 31 peer economies with similar levels of GDP per capita but much less inequality. We study 1) The extent and dispersion of market power among LACs firms compared to firms in peer economies; 2) the relationship between market power and the labor share of revenue at the firm level; and 3) the implications of that relationship for the aggregate labor share of income, which depends on the joint distribution (across firms) of market power, the labor share, and firms size. Markups (markdowns) measure product (labor) market power. Our results indicate that the average markup in the region is 20 percent above marginal costs, while average wages are 46 percent below the marginal revenue product of labor. The negative relationship at the firm level between the labor share and combined market power is driven by labor rather than product market power. Finally, we show that labor market power is more pronounced among larger firms, magnifying the effect of market power on the aggregate labor share and income distribution. However, there is no indication that market power is more acute or dispersed in LAC than in its peers, nor does it appear to induce more inequality than in those countries.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
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Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.
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Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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Díaz de Astarloa, Bernardo, and Ezequiel Tacsir. Cluster Initiatives and Economic Resilience: Evidence from a Technology Cluster in Argentina. Inter-American Development Bank, December 2022. http://dx.doi.org/10.18235/0004594.
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In this paper, we study the role of a cluster initiative in fostering economic resilience among firms in a local technology cluster in Argentina. We focus on two aggregate shocks that hit the Argentine economy, including first wave of the COVID-19 pandemic. Our analysis is based on interviews with authorities and members of the cluster initiative, local firms, and policy makers, as well as on firm-level administrative tax records. We find that the cluster organization provides members with resources that could foster resilience, including access to specialized human capital, information on business opportunities, and assistance in applying for government support programs. However, while members of the cluster organization appear to be more resilient than non-members, even within the same regional cluster, after conditioning on firm characteristics we find little evidence of a positive association between belonging to the cluster organization and economic resilience. Members of the cluster organization are neither less likely to exit nor adapt by switching their main economic activity and did not show statistically significantly higher revenue growth than nonmembers. Member firms do appear to have been more able than non-members to keep up with tax obligations during the first wave of the COVID-19 pandemic.
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Bonilla-Mejía, Leonardo, Mauricio Villamizar-Villegas, and María Alejandra Ruiz-Sánchez. The Leading Role of Bank Supply Shocks. Banco de la República de Colombia, August 2022. http://dx.doi.org/10.32468/be.1205.
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This paper studies the impact of the Covid-19 pandemic on corporate credit in Colombia. We first exploit the geographic and temporal variation in the disease spread to estimate the effect of local exposure to the virus on credit. Our estimates indicate that neither local exposure to the virus, nor the sector-specific mobility restrictions had an impact on credit. We then assess the role of bank supply shocks. We create a measure of bank exposure, reflecting the geographic heterogeneity in pandemic vulnerability and deposits, and estimate its effect on credit. Results indicate that bank-supply shocks account for a credit contraction of approximately 5.2%. To further disentangle the role of bank supply shock, we control for the interaction between firm and time fixed-effects and restrict the sample to municipalities that were relatively spared from the pandemic, finding similar results. Most of the bank supply effects are driven by firms that are small, young, and have relatively low liquidity.
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Chandath, Him, Ing Chhay Por, Yim Raksmey, and Diane Archer. Air Pollution and Workers’ Health in Cambodia’s Garment Sector. Stockholm Environment Institute, March 2023. http://dx.doi.org/10.51414/sei2023.017.
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The findings of this study can inform and enable policymakers in improving occupational air pollution, including addressing air pollution, pollution sources and other related issues in the garment manufacturing sector in Cambodia. Such interventions will help to uphold the health of workers as a human right, ensure safe workplaces, and also be beneficial for the country’s economic growth, as a healthy workforce is more productive. While the garment sector serves as Cambodia’s economic backbone and creates much-needed jobs, it is also a highly polluting industry, alongside being regularly implicated for not upholding labour rights. The sector emits pollutants to air from intensive energy use, solid and hazardous waste emissions, noise pollution and wastewater pollution discharge. Despite this, the sector’s environmental impacts in Cambodia, particularly in relation to air pollution, are not well known, and this gap was highlighted in the development of Cambodia’s 2021 Clean Air Plan. Aiming to fill this gap, in cooperation with SEI, the Air Quality and Noise Management Department of the General Directorate of Environmental Protection of Cambodia’s Ministry of Environment conducted a research project to improve understanding of air pollutant emissions from the textile industry and the health impacts on workers in Cambodia’s garment industry. The study drew on in-depth interviews with 323 garment factory workers across 16 factories, interviews with 16 factory owners, and quantitative data to better understand all interviewees’ experiences with occupational air pollution. While the research documented any symptoms related to air pollution, it did not employ medical research to assess the workers’ health status, nor did it attempt to investigate the cost or impact of air pollution on factory production. This policy briefing draws on a longer report prepared by the Ministry of Environment (Chandath, H., Chhay Por, I., Sokyimeng, S., Dana, S., Raksmey, Y. 2023. Understanding Air Pollution in the Garment Sector and Health Impacts on Workers: A Cambodian Case Study. Ministry of Environment, Cambodia. https://epa.moe.gov.kh/pages/categories/view/document-daqnm).