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Journal articles on the topic 'Noir – Au cinéma'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Boulou Ebanda, De B’béri. "Tactiques scripturaires dans les cinémas d’Afrique noire." Cinémas 11, no. 1 (October 26, 2007): 11–30. http://dx.doi.org/10.7202/024831ar.

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RÉSUMÉ Notre réflexion sur le cinéma d'Afrique noire trouve son point de départ dans les concepts de stratégie et de tactique, que nous empruntons à Michel de Certeau. Notre hypothèse est que les cinémas d'Afrique noire s'infiltrent dans les structures stratégiques des cinémas dominants, créant ainsi de nouvelles voies d'analyse. Un survol historique des images et discours sur l'Afrique montrera comment s'opèrent la réappropriation et la rappropriation de l'image du Noir par le Noir. La description de deux séquences de films montrera comment la rappropriation s'effectue par des détournements fortement politisés.

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2

Bailblé, Claude. "Le noir et blanc au cinéma." Cahier Louis-Lumière 1, no. 1 (2003): 6–25. http://dx.doi.org/10.3406/cllum.2003.849.

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3

Bosséno, Christian. "Cinéma noir et blanc en version française." Hommes et Migrations 1132, no. 1 (1990): 43–50. http://dx.doi.org/10.3406/homig.1990.1470.

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4

Barlet, Olivier. "Y a-t-il un cinéma noir français ?" Africultures 92-93, no. 2 (2013): 342. http://dx.doi.org/10.3917/afcul.092.0342.

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5

Corcuff, Philippe. "“Juegos de lenguaje” del género negro: novela, cine y series." Cultura y Representaciones Sociales 11, no. 21 (September 1, 2016): 9–28. http://dx.doi.org/10.28965/0103(2017).06.

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6

Corcuff, Philippe. ""Jeux de langage" du noir : roman, cinéma et séries." Quaderni, no. 88 (October 5, 2015): 21–33. http://dx.doi.org/10.4000/quaderni.917.

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7

Jonassaint, Jean. "Le cinéma de Sembène Ousmane, une (double) contre-ethnographie." Ethnologies 31, no. 2 (March 9, 2010): 241–86. http://dx.doi.org/10.7202/039372ar.

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Dans un premier temps, cet article brosse brièvement une biographie intellectuelle de Sembène Ousmane pour faire ressortir les rapports entre sa production et sa trajectoire de sujet sénégalais, Ousmane Sembène de son vrai nom, devenu le romancier et cinéaste Sembène Ousmane. Du même coup, à partir d’une lecture de l’évolution des titres de ses romans du français au wolof, du Docker noir (1956) à Xala (1973), il tente d’expliquer son passage de l’écrit à l’écran. Dans un deuxième temps, ce texte montre la cohérence interne de l’oeuvre cinématographique de La Noire de... (1966) à Moolaadé (2004), en passant par Mandabi (1968), Ceddo (1976) ou Camp de Thiaroye (1988). Ces films qui, tous, mettent en scène une crise suite à une rencontre avec l’Autre (ou d’autres), plus spécifiquement l’irruption d’un ou des éléments étrangers dans un corps social jamais un mais multiple, divers dans un procès de confrontation/transformation. Cette double contre-ethnographie, portrait de Soi et portrait de l’Autre, ni Soi ni l’Autre n’étant un, mais multiple, divers/divisé est une poéthique (poétique et éthique) liée à un engagement personnel de l’écrivain-cinéaste pour une redéfinition de l’image de l’Afrique sur les écrans. En ce sens, son travail se fait notamment, du moins implicitement, contre un certain cinéma ethnographique dont Jean Rouch a été la figure de proue avec des documentaires comme Les Maîtres fous (1954) ou Mammy Water (1966).

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8

Jost, François. "Du renoncement à la couleur à une esthétique et à une éthique du noir et blanc : Averty dans ses oeuvres." Cinémas 26, no. 2-3 (April 5, 2017): 99–127. http://dx.doi.org/10.7202/1039368ar.

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Lorsqu’il arrive à la télévision, Averty est saisi par un sentiment de grisaille : alors même qu’elles sont tournées dans des décors en couleurs, les émissions sont filmées en noir et blanc. S’insurgeant contre ce qu’il considère comme une absurdité, il va fonder son esthétique sur le contraste de ces deux couleurs. Les bases en sont jetées parUbu roi, qui s’appuie sur « De l’inutilité du théâtre au théâtre », de Jarry, et sur une conception de l’image qui mêle à la « perspective signifiante » du Moyen Âge l’art du papier découpé de Braque. En résulte une conception de la télévision qui tourne le dos au cinéma en prenant à la lettre les prescriptions de l’auteur d’Ubu. Mais le noir et blanc n’est pas qu’une position esthétique. Averty va en faire une « affaire de morale ». Le 24 décembre 1964, il offre aux téléspectateurs l’adaptation desVerts pâturages, où les rôles traditionnels sont inversés : Dieu est noir, de même que Jésus et le premier homme, né en Afrique. Cette émission paraît scandaleuse à certains, non seulement parce qu’elle va à l’encontre de la vulgate, mais aussi parce que sa réalisation, basée sur un usage systématique des trucages électroniques, remet en cause le style des émissions de variétés de la décennie précédente tout en fondant un art vidéo.

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9

Araújo, Mateus, and Cyril Béghin. "Brecht, Glauber, Deus, o Diabo e o Dragão Entrevista com Othon Bastos." Revista ECO-Pós 22, no. 1 (June 21, 2019): 308–24. http://dx.doi.org/10.29146/eco-pos.v22i1.26394.

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Othon Bastos é, sem favor, um dos maiores e mais completos atores brasileiros dos últimos 60 anos, com carreira muito imponente no teatro, no cinema e na televisão. Iniciada por escrito em fins de dezembro de 2004, e largamente desenvolvida num longuíssimo telefonema internacional de Paris ao Rio de Janeiro em 14 de janeiro de 2005, esta entrevista tinha como foco principal o trabalho cinematográfico de Othon com Glauber Rocha, de cuja retrospectiva integral na França (março de 2005) ele era um dos convidados previstos por nós. De seu itinerário muito rico, deixamos entre parênteses uma série de outros aspectos - o que nos permitiu em compensação aprofundar o exame de suas colaborações com nosso cineasta maior. Publicada em versão francesa concisa num livro coletivo editado por ocasião daquela retrospectiva [Araújo Silva, Mateus & Béghin, Cyril. "Brecht, Le Dieu Noir et Antonio das Mortes (Entretien avec Othon Bastos)", em Dominique Bax, Cyril Béghin & Mateus Araújo Silva (dir). Glauber Rocha / Nelson Rodrigues, Bobigny, Magic Cinéma, 2005, p.96-99], ela permanecia porém, até hoje, inédita em português.

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10

Sauvagnargues, Anne. "Le sujet cinématographique, de l’arc sensorimoteur à la voyance." Cinémas 16, no. 2-3 (March 22, 2007): 96–114. http://dx.doi.org/10.7202/014617ar.

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Résumé La sémiotique de l’image, chez Deleuze, s’appuie sur une cinétique du mouvement, qui renouvelle la philosophie et la théorie du cinéma. La matière comporte l’ensemble des images, tandis que la perception ouvre sur ces images une perspective myope, prenant pour cadre l’image particulière d’un corps. Dans cet univers acentré, la subjectivité agit comme cadrage et coupure, interstice entre les images. Une perception se forme quand une image s’individue, et cette individuation se formule dans les termes d’une genèse cinématographique. L’image-mouvement déplie son éventail subjectif d’images-perception, d’images-action et d’images-affection. Ces trois moments matériels correspondent aux catégories du cinéma (sémiotique) et aux moments d’une genèse de la subjectivité (cinétique). L’image-perception soustrait des autres images tout ce qui n’a pas trait à son action ; son cadrage permet à l’image-action de faire pénétrer de l’indétermination dans les autres images en incurvant l’univers autour de son action possible ; enfin, l’image-affection détermine le lien entre les perceptions (images) et les actions (mouvements) de l’arc sensorimoteur. Ces trois moments assurent l’analyse du cinéma classique : les trois types d’images, qui correspondent aux genres de films et aux types de cadrage, sont équivalents. L’image-perception, et son panoramique (western), ne vaut pas mieux que le plan moyen et le montage accéléré de l’image-action (film noir), ni que le gros plan de l’image-affection (cinéma psychologique). Pourtant, l’image-affection, le gros plan, possède la capacité de mener de l’image-mouvement à l’image-temps. La distension de l’arc sensorimoteur ouvre le mouvement, l’action individuée et actuelle, sur leur vibration virtuelle et intensive : l’affect du temps surgit dans la faillite du schème sensorimoteur, et le cinéma nous fait percevoir « un peu de temps à l’état pur » (Proust). Il s’agit d’explorer cette définition de la subjectivité, qui s’appuie sur la technique cinématographique du montage, et renouvelle la question du temps autant que celle du sujet.

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11

Sinda, Thierry. "Le cinéma des Aborigènes d'Australie ou la naissance d'une nouvelle cinématographie du monde noir." Présence Africaine 159, no. 1 (1999): 215. http://dx.doi.org/10.3917/presa.159.0215.

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12

Chedaleux, Delphine. "Des jeunes femmes dans le cinéma français sous l'Occupation : contradictions en noir et blanc." Le Temps des médias 12, no. 1 (2009): 163. http://dx.doi.org/10.3917/tdm.012.0163.

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13

Kuo, Li-Chen. "Le noir du cinéma et sa mise en « boîte » par Janet Cardiffet George Bures Miller." Marges, no. 31 (October 20, 2020): 45–55. http://dx.doi.org/10.4000/marges.2286.

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14

Guyot-Bender, Martine. "Fondu au noir : Passage à l'art, passage à l'oubli dans le cinéma de Rithy Panh." Contemporary French and Francophone Studies 21, no. 3 (May 27, 2017): 274–81. http://dx.doi.org/10.1080/17409292.2017.1396746.

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15

Laberge, Yves. "Olivier BARROT et Raymond CHIRAT (2000), Noir et Blanc. 250 acteurs du cinéma 1930-1960." Communication, Vol. 22/2 (October 15, 2003): 193–94. http://dx.doi.org/10.4000/communication.4537.

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16

Kolovos, Nikos. "Ο Ορφέας του σκότους (Στον κινηματογράφο του Ζαν Κοκτό)." Σύγκριση 11 (January 31, 2017): 35. http://dx.doi.org/10.12681/comparison.10765.

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Lévénement le plus important de la «vie» d' Orphée fut sa descente dans l'Hadès, à laqualle il se résolut, demeuré inconsolable après la mort de sa bien- aimée Eurydice. La «mort» d' Orphée est le second événement extraordinaire de sa vie. Jean Cocteau s'est limité essentiellement à la description du premier événement pour tourner ses films «Orphée» (1950) et «Le Testament d'Orphée» (1959). Pour Cocteau, le cinéma était poétique par excellence, «un véhicule de poésie», selon ses propres termes. Car l'inventif langage audiovisuel lui donnait la possibilité de dépasser la réalité et de se mouvoir librement dans l'irréalité. Cocteau a vu le mythe secondaire mais universel d'Orphée sous deux angles: a) dans son film «Orphée», comme une série d'ombres rayonnantes et une réunion de corps éphémères. Mais certains d'entre eux traversent le temps du monde d' En-Haut tandis que d'autres se meuvent entre celui-ci et le monde d'En-Bas. Un film qui pourrait être lu comme un étrange film noir mais aussi comme un récit chargé de la parole poétique de Cocteau. b) dans son film «Le Testament d'Orphée», comme une possibilité pour Cocteau lui-même de s'incarner en Orphée. En un poète sensible, mélancolique et inquiet errant entre le monde des Enfers et le monde des vivants, prêt à léguer à l'avenir des poètes sa noble et sage expérience. Par ces deux textes filmiques, Cocteau «a usurpé ou s'est approprié» le mythe d'Orphée. Il en a fait un radeau poétique pour façonner la mer d'ombres qui unit les deux univers, celui d'En-Haut et celui d'En-Bas.«Orphée» est à maints égards une version parodique qui transgresse le mythe archétype. «Le Testament d'Orphée» vient en interprétation authentique et en post-scriptum «narcissique» au film précédent. Mais il s'inscrit aussi comme une destruction de la relation excentrique de Cocteau avec le cinéma.

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17

Diawara, Manthia. "Noir by Noirs: Towards a New Realism in Black Cinema." African American Review 27, no. 4 (1993): 525. http://dx.doi.org/10.2307/3041886.

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18

Diawara, Manthia. "Noir by Noirs: Towards a New Realism in Black Cinema." African American Review 50, no. 4 (2017): 899–911. http://dx.doi.org/10.1353/afa.2017.0145.

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19

Orozbaev, Kasym N. "Primary Cinema Sources of American Noir." Journal of Flm Arts and Film Studies 8, no. 2 (June 15, 2016): 108–18. http://dx.doi.org/10.17816/vgik82108-118.

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The article analyses the two main sources of American film noir: the German cinema of the Weimar period (1919-1933) and American gangster film (1920-1930), pointing out the principal stylistic, thematic and conceptual techniques that influenced the forming of the noir style in the American movies of the 1940-1950s.

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20

Schneider, Adérito. "A DAMA DO CINE SHANGAI, UM NOIR BRASILEIRO." Revista NÓS: Cultura, Estética e Linguagens (ISSN 2448-1793) 3, no. 3 (December 10, 2018): 73–87. http://dx.doi.org/10.32411/revistanos-2448-1793-v3n3-8339.

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O artigo A dama do Cine Shangai, um noir brasileiroapresenta resultados preliminares de uma tese de doutorado emdesenvolvimento que busca analisar o filme A dama do Cine Shangai(Guilherme de Almeida Prado, 1988) sob diferentes aspectos: primeiro,como um filme noir brasileiro do final do século XX, após décadas denoir enquanto (sub)gênero na literatura, no cinema e outras linguagensartísticas; e também como um filme brasileiro pós-moderno do finaldos anos 1980, numa espécie de “limbo” após o chamado cinemamoderno brasileiro (em especial, o Cinema Novo e o Cinema Marginal)e antes da Retomada (anos 1990).

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21

Schneider, Adérito. "Sin City:." História, histórias 4, no. 7 (December 20, 2016): 167–84. http://dx.doi.org/10.26512/hh.v4i7.10933.

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Este artigo parte do filme Sin City: A cidade do pecado (Robert Rodriguez e Frank Miller, 2005) para analisar o conceito de noir. A hipótese aqui é de que o noir é um (sub)gênero cinematográfico/literário construído a posteriori, fruto de múltiplas e complexas influências por meio de um dialogismo tautológico entre diversas linguagens (literatura, cinema, quadrinhos etc.), consolidando-se apenas no chamado neo-noir. Dessa forma, este artigo é um exercício que busca reconstruir brevemente a trajetória do noir, passando pela literatura policial do século XIX, o romance noir dos anos 1920 e 1930, o filme noir “clássico” dos anos 1940 e 1950 para, finalmente, deter-se na análise dos quadrinhos da série Sin City (anos 1990) e sua adaptação cinematográfica no início do século XXI.

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22

Bulhões, Marcelo Magalhães. "A grande arte: da transgressão do noir ao ilhar “de fora” na adaptação cinematográfica." Revista FAMECOS 26, no. 3 (December 27, 2019): 32451. http://dx.doi.org/10.15448/1980-3729.2019.3.32451.

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O propósito deste artigo é avaliar a adaptação cinematográfica do romance A Grande Arte no filme lançado em 1991. Mobiliza o artigo o problema: o filme sinaliza um ponto de retificação de uma das marcas identitárias do cinema brasileiro ao comportar uma propositura audiovisual tecnicamente elevada que se afasta da tradição do “cinema pobre”. Uma vez que o romance de Rubem Fonseca realiza uma aclimatação transgressiva do noir em sua matriz norte-americana, que implicações possui o filme de Walter Salles, na trajetória de nosso cinema, ao aliar-se ao padrão do filme policial norte-americano em seu “padrão de qualidade”? Em termos metodológicos, o artigo é tomado por envergadura analítico-interpretativa ancorada em procedimentos de análise fílmica, aliados a contribuições a respeito do cinema noir e interpretações sobre a trajetória do cinema brasileiro. O artigo busca fornecer subsídios às discussões sobre relações interculturais no cerne dos gêneros da ficção midiática contemporânea.

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23

Berardo Bueno, Murilo Gabriel, and Daniel Christino. "A IMAGINAÇÃO MELODRAMÁTICA E A ESTÉTICA NOIR NO JOGO DE VIDEOGAME HEAVY RAIN." Panorama 6, no. 2 (December 30, 2016): 121. http://dx.doi.org/10.18224/pan.v6i2.5261.

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O presente artigo analisa de que forma a imaginação melodramática está inserida na narrativa do jogo de videogame Heavy Rain, desenvolvido pela empresa Quantic Dream, e a relação entre a linguagem do jogo escolhido como objeto de estudo e dos filmes do cinema Noir Americano. Por se tratar de um jogo de crime investigativo, alguns elementos da imaginação melodramática como o restabelecimento da ordem e a superioridade do bem foram investigados e contextualizados a fim de identificar de que forma a estrutura do melodrama está presente na narrativa. Outro aspecto investigado são os elementos estéticos e narrativos que se relacionam ao cinema noir.

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24

Bishop, Elizabeth. "Politics of Cinema in Hashemite Iraq." Oriente Moderno 93, no. 1 (2013): 101–26. http://dx.doi.org/10.1163/22138617-12340004.

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Abstract Hashemite Iraq was better integrated into the global cinema that other Arab countries. Baghdad audiences loved film noir, and the US succeeded in displacing the UK as a source of newsreels, as well. During the Cold War’s first decade, Hollywood continued to pump inexpensive productions and aged celluloid through Iraq, including films made under US government contracts. Local viewers responded thoughtfully to such films, engaging themes such as responsibility and guilt. Against this general background, specific allegations that testing of weapons delivery systems for germ warfare continued after the end of the Korean War, are assessed in the light that public health authorities reported a series of outbreaks of meningitis among audiences in Baghdad cinemas.

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25

Augusti, Alexandre Rossato, and Nathalia Lopes Da Silva. "Cinema noir clássico e contemporâneo: influências e construção do imaginário para o gênero." Sessões do Imaginário 22, no. 38 (October 17, 2017): 209. http://dx.doi.org/10.15448/1980-3710.2017.2.29722.

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O presente trabalho busca investigar como o filme noir clássico influencia o cinema contemporâneo reconhecido como neonoir, e descobrir como essas produções podem estabelecer imaginários sobre a temática do crime. Para tanto, observamos mais detalhadamente os filmes Pacto Sinistro (Strangers on a train), de Alfred Hitchcock, (1951) e Cães de Aluguel (Reservoir Dogs), de Quentin Tarantino (1992). Utilizamos autores como Borde e Chaumeton (1958), Mascarello (2006), Fontes (2011), Silva (2006), Maffesoli (2001) e Metz (2012), com destaque para Rose (2002) no que se refere especificamente à aplicação metodológica, baseada em seu método. Dentre as principais conclusões, evidenciamos que os elementos do noir clássico aparecem nos filmes noir atuais como uma releitura, com diferentes significados.

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26

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.

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27

Zeng, Li. "So Close to Paradise (1999) and The Missing Gun (2002): Hollywood Models and the Production of Film Noir in Chinese Cinema at the Turn of the Twenty-first Century." Journal of American-East Asian Relations 20, no. 1 (2013): 48–67. http://dx.doi.org/10.1163/18765610-02001007.

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Film noir is new to the cinema of the People’s Republic of China. It was not easy for noir’s dark themes and nihilistic tone to get past the state’s strict censorship; however, at the turn of the twenty-first century, a few noir films were produced. Chinese noir has a strong affinity with American film noir in its representation of social and spatial transformation and exploration of critical issues under strict censorship. This essay presents a close analysis of So Close to Paradise (Wang Xiaoshuai, 1999) and The Missing Gun (Lu Chuan, 2002) and argues that Chinese noir is a creative and localized adaptation of a Hollywood genre. Innovative in their application of noir form and style, these films criticize corruption and class conflict in contemporary China and reflect ordinary people’s feelings of alienation and frustration provoked by the transformation of urban space. This essay also studies the strategies the two films employ, such as ambiguity and genre hybridity, to get past official censors while still maintaining their critical depth and subversive messages.

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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.

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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."

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29

Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.

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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.

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Moldovan, Raluca. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies Journal 22, no. 1 (August 15, 2014): 43–62. http://dx.doi.org/10.2478/abcsj-2014-0022.

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Abstract The present study aims to investigate the contribution that actor Edward G. Robinson brought to the American film industry, beginning with his iconic role as gangster Little Caesar in Mervyn Le Roy’s 1931 production, and continuing with widely-acclaimed parts in classic film noirs such as Double Indemnity, The Woman in the Window and Scarlet Street. Edward G. Robinson was actually a Romanian Jew, born Emmanuel Goldenberg in Bucharest, in 1893, a relatively little known fact nowadays. By examining his biography, filmography and his best-known, most successful films (mentioned above), I show that Edward G. Robinson was one of classical Hollywood’s most influential actors; for instance, traits of his portrayal of Little Caesar (one of the very first American gangster films) can be found in almost all subsequent cinematic gangster figures, from Scarface to Vito Corleone. In the same vein, the doomed noir characters he played in Fritz Lang’s The Woman in the Window and Scarlet Street are still considered by film critics today to be some of the finest, most nuanced examples of noir heroes. Therefore, the main body of my article will be dedicated to a more detailed analysis of these films, while the introductory section will trace his biography and discuss some of his better-known films, such as Confessions of a Nazi Spy and Key Largo. The present study highlights Edward G. Robinson’s merits and impact on the cinema industry, proving that this diminutive Romanian Jew of humble origins was indeed something of a giant during Hollywood’s classical era.

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Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.

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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.

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Durys, Elżbieta. "The potential of Nordic noir: The Pustina miniseries as an example of the transnational usage of the formula." Literatura i Kultura Popularna 24 (April 18, 2019): 155–72. http://dx.doi.org/10.19195/0867-7441.24.12.

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The potential of Nordic noir: The Pustina miniseries as an example of the transnational usage of the formulaThe article discusses Wasteland Pustina, dir. Alice Nellis, Ivan Zachariáš, 2016, a Czech TV miniseries created by Štěpán Hulík and produced by HBO Europe, as an example of the transnational usage of Nordic noir formula. In the article, Nordic noir is recognized and presented as medium-concept cinema Andrew Nestingen. The outline of its characteristics and the analysis of its rhizomatic roots constitute the first part of the article. The second is devoted to Wasteland. Three plotlines are identified and highlighted as crucial for Hulík’s miniseries: the crime and investigation plot, the violence against women one, and the disintegration of the community one. Their analysis is complemented with characteristics of the visual style employed in Wasteland.

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Mouzet, Aurélia. "Les acteurs noirs du cinéma français : de l’ombre à la lumière ?" Voix Plurielles 14, no. 2 (December 9, 2017): 50–61. http://dx.doi.org/10.26522/vp.v14i2.1640.

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Un tour d’horizon du cinéma français au vingtième siècle signale une présence spectrale de comédiens noirs à l’écran. Présence qui tend d’ailleurs à décroître lorsque l’on considère le nombre de premiers rôles qui leur ont été attribués. En se penchant sur l’influence de ces artistes sur la scène française, l’on remarque que se dégage un paradoxe : s’ils apparaissent certes dans le spectacle français dès le dix-huitième siècle (avec notamment le fameux Chevalier St George), ils demeurent pourtant des figures spectrales dans la mémoire collective. Comment expliquer la présence si disparate de comédiens noirs dans le cinéma français ? Pourquoi semblent-ils condamnés à jouer des rôles stéréotypés trop souvent nourris de clichés hérités de l’imaginaire colonial ? C’est à ces multiples interrogations que cet article tentera de répondre en cherchant à mettre au jour l’évolution des personnages noirs dans le paysage cinématographique français.

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Nestingen, Andrew. "The Nordic noir brand." Journal of Scandinavian Cinema 11, no. 1 (March 1, 2021): 103–12. http://dx.doi.org/10.1386/jsca_00041_1.

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Editing the volume Nordic Noir, Adaptation, Appropriation with Linda Badley and Jaakko Seppälä made evident historical changes in the role of adaptation in Nordic audio-visual culture. An earlier generation of auteurs such as Aki Kaurismäki used adaptation to align themselves with aesthetic and philosophical bodies of texts, what we might call ‘networks of similarity’, following Luis M. García Mainar. In the rise of Nordic noir since the millennium, Nordic cinema and television’s networks of similarity change. The auteurs used adaptation to establish modernist originality of vision. In the current moment, this quality has diminished, and adaptation increasingly figures in broader, more densely cross-referential networks of similarity, of which Nordic noir is arguably an instantiation. These are defined by aesthetic and sociopolitical associations, more so than originality. These associations figure in practitioners’ and textual consumers’ use of response to and replication of the noir texts and their networks in a variety of media. This activity can be understood as a type of branding that aligns with attempts at national and regional branding.

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Dolgopolov, Greg. "Ghosting in the outback Noir." Coolabah, no. 29 (February 28, 2021): 4–16. http://dx.doi.org/10.1344/co2021294-16.

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Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.

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Miguel, Alcebiades Diniz. "Judaísmo e cinema imaginário." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 14, no. 27 (November 30, 2020): 2–15. http://dx.doi.org/10.35699/1982-3053.2020.25679.

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A iconoclastia, em geral, costuma estar associado acriticamente ao judaísmo como uma espécie de exclusão por preconceito ou por observância excessivamente estrita de dogmas religiosos. Tal associação, surgida na Idade Média – que alimentou vasta literatura antijudaica, focada na conversão dos judeus ao cristianismo – alicerça uma visão do judeu quase como um inimigo das artes visuais, da perspectiva do espectador e do observador. Mas tal perspectiva, evidentemente, é equivocada; pois a iconoclastia no judaísmo possuía muitas outras funções e uma complexidade teórica muito própria. E tal complexidade, de certa forma, sobreviveu e persistiu em plena modernidade – como veremos no caso do grupo de vanguarda Infra-noir, majoritariamente judeu, em suas relações com a imagem estética e cinematográfica.

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Shaw, Nathan. "‘Play it Again, Sam’ – intertextuality, authorship and expectations in The Bloody Olive." Short Film Studies 4, no. 1 (April 1, 2014): 95–98. http://dx.doi.org/10.1386/sfs.4.1.95_1.

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Whether early literary adaptations or postmodern, pop culture stuffed millennium movies, cinema has continually showcased its penchant for intertextuality. Simultaneously, genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected. These interconnecting elements are prevalent, and toyed with, throughout short film noir pastiche The Bloody Olive.

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Pires, Alex Sampaio, and Michele Negrini. "O jornalista e o assessor de imprensa no cinema noir através do filme A Embriaguez do Sucesso." PragMATIZES - Revista Latino-Americana de Estudos em Cultura, no. 12 (June 22, 2017): 158. http://dx.doi.org/10.22409/pragmatizes.v0i12.118.

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Este estudo busca, com base no filme A Embriaguez do Sucesso, entender como o cinema noir mostrou os jornalistas e os assessores de imprensa, e como os reflexos sociais da época, como o fatalismo pós-guerra e o medo do comunismo, influenciaram nesta apresentação. A análise é realizada com o método da Análise de Imagens em Movimento, de Diane Ross. Entre as conclusões, destaca-se que o noir via os jornalistas como seres manipuladores, e que esta construção ocorre por causa do período histórico, de desilusão, vivenciado na América, enquanto os assessores de imprensa aparecem também de forma manipuladora, porém de forma inferior aos jornalistas, reflexo de um preconceito que por muito tempo existiu no meio jornalístico.

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Pires, Alex Sampaio, and Michele Negrini. "O jornalista e o assessor de imprensa no cinema noir através do filme A Embriaguez do Sucesso." PragMATIZES - Revista Latino-Americana de Estudos em Cultura, no. 12 (June 22, 2017): 158. http://dx.doi.org/10.22409/pragmatizes2017.12.a10452.

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Este estudo busca, com base no filme A Embriaguez do Sucesso, entender como o cinema noir mostrou os jornalistas e os assessores de imprensa, e como os reflexos sociais da época, como o fatalismo pós-guerra e o medo do comunismo, influenciaram nesta apresentação. A análise é realizada com o método da Análise de Imagens em Movimento, de Diane Ross. Entre as conclusões, destaca-se que o noir via os jornalistas como seres manipuladores, e que esta construção ocorre por causa do período histórico, de desilusão, vivenciado na América, enquanto os assessores de imprensa aparecem também de forma manipuladora, porém de forma inferior aos jornalistas, reflexo de um preconceito que por muito tempo existiu no meio jornalístico.

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Bulhões, Marcelo Magalhães. "Noir Dourado da adaptação literária: de Rubem Fonseca ao clichê da minissérie Agosto." Discursos Fotograficos 13, no. 23 (December 5, 2017): 190. http://dx.doi.org/10.5433/1984-7939.2017v13n23p190.

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O propósito deste artigo é avaliar a adaptação de Agosto, romance de Rubem Fonseca publicado em 1990, produzida pela TV Globo. Tal avaliação buscará acessar a questão da adaptação audiovisual como fenômeno intersemiótico, enfocando um gênero cuja trajetória histórica é exemplar da dinâmica de absorção, transformação e recriação que envolve as relações entre cinema e literatura: o noir.

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Maldonado-Casas, Daniel. "El cine negro español: del spanish noir al policiaco actual [Reseña]." Revista Mediterránea de Comunicación 12, no. 1 (January 11, 2021): 317. http://dx.doi.org/10.14198/medcom000007.

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The Spanish black cinema: from the Spanish noir to the present police one. It proposes a trip from the background of the Spanish black cinema - 1940s - to the present. The play, broken into 6 chapters - actually 8, although the last two are considered annexes with encyclopedic functions - goes chronologically through the evolution of the gender, making notes about his most relevant feature films and directors. The author guides us through comments and personal opinions, that are based in both critics from professionals of the time - Méndez Leite or Fernandez Santos - and declarations from the filmmakers themselves - from Rovira Beleta to Enrique Urbizu.

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Misse, Michel. "Chandler no Cinema Noir: algumas reflexões sobre "A simples arte de matar"." Sociologias 15, no. 34 (December 2013): 140–54. http://dx.doi.org/10.1590/s1517-45222013000300007.

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O artigo trata da adaptação de novelas de Raymond Chandler para o cinema e de suas incursões como roteirista de filmes; na última parte, tendo por referência o ensaio de Chandler intitulado "A simples arte de matar", o autor reconsidera o apelo do crime e do mistério nas representações sociais presentes na estética "noir", que influencia ainda hoje o romance policial e de mistério.

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Lambert, Merlin. "Juifs et pieds-noirs, ou « juifs pieds-noirs » ? L’exemple du cinéma." Diasporas, no. 27 (October 27, 2016): 125–40. http://dx.doi.org/10.4000/diasporas.454.

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Keubeung, Gerard. "Noire n'est pas mon métier ou un autre appel des Indigènes de la République." Voix Plurielles 18, no. 1 (May 2, 2021): 3–15. http://dx.doi.org/10.26522/vp.v18i1.2619.

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Le présent article voudrait analyser L’ouvrage Noire n’est pas mon métier qui regroupe les récits et expériences de seize actrices françaises noires et métisses. S’inscrivant dans le prolongement de la réaction des acteurs afro-américains qui protestaient en 2016 contre leur absence de la liste des nominés pour la cérémonie des récompenses des oscars, les seize contributrices décrivent les discriminations dont elles sont victimes et les difficultés dont elles font face dans l’exercice de leur métier d’actrice. En inscrivant cette publication dans le contexte socio historique de la société française de la fin du siècle dernier marqué par la guerre des mémoires, les émeutes dans les banlieues des grandes villes et le débat sur l’identité nationale, je postulerai que les revendications de ces actrices se situent dans la mouvance générale tracée par « les Indigènes de la République » qui refusent d’être cantonnés dans l’arrière-cour de la république. En revisitant les stéréotypes, les discriminations, et tout le mécanisme d’invisibilisation des actrices noires dans le cinéma français, nous lirons cet ouvrage comme une tentative de prise de parole de la femme noire triplement subalterne et condamnée à une bataille permanente pour s’affirmer comme une humanité et avoir ainsi part à ce que Jacques Rancière appelle « le partage du sensible. » Discrimination - Cinéma- Indigènes - Noire - Actrice - Exclusion

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Horbury, Alison. "Postfeminism and the Fatale Figure in Neo Noir Cinema." Australian Feminist Studies 31, no. 87 (January 2, 2016): 113–15. http://dx.doi.org/10.1080/08164649.2016.1175053.

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Ortegosa, Marcia. "A fotografia no cinema noir: uma relação entre-imagens." Significação: Revista de Cultura Audiovisual, no. 14 (November 30, 2000): 177. http://dx.doi.org/10.11606/issn.2316-7114.sig.2000.90626.

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Silva, Wesley Martins da, and Saulo Germano Sales Dallago. "UM ESTUDO SOBRE LUZ E FOTOGRAFIA NA EXPRESSÃO DA IMAGEM CINEMATOGRÁFICA." Arte da Cena (Art on Stage) 5, no. 1 (July 27, 2019): 142–64. http://dx.doi.org/10.5216/ac.v5i1.55420.

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Neste artigo procuramos entender a importância da evolução na utilização da luz na arte cinematográfica, tendo como pano de fundo vários períodos da história do cinema onde ela foi sinônimo de estilo de época. O cinema expressionista alemão, os filmes noir e alguns contemporâneos vão colaborar diretamente com exemplos, que permitem o entendimento de possibilidades da relação entre luz, cor, fotografia e expressividade no ambiente cinematográfico. Partindo da fotografia, enquanto primeria forma estética de cunho técnico, o estudo procura compreender a semiótica da captação de imagens através da objetiva, relacionando os aspectos da iluminação comuns ao cinema e a arte fotográfica. Trata-se de perceber as diferenças das tonalidades no cinema preto e branco e a necessidade da cor e suas refletividades. Por outro lado, o tema abordado contribuirá para uma percepção das diferenças de iluminação entre o cinema e o teatro, relacionando as pesquisas do campo audiovisual com teóricos das artes da cena, como Adolphe Appia e Edward Gordon Craig. Ao final do estudo, analisaremos uma produção prática, na qual foram utilizados elementos de iluminação e fotografia cinematográfica, realizada como narrativa visual e integrante do espetáculo teatral “Enquanto Dure” (2015), intitulada “Surrencontro”.

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Balogun, Françoise. "Visages de femmes dans le cinéma d'Afrique noire." Présence Africaine 153, no. 1 (1996): 141. http://dx.doi.org/10.3917/presa.153.0141.

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Gadjigo, Samba. "Le cinéma africain et la diaspora noire américaine." Présence Africaine 170, no. 2 (2004): 169. http://dx.doi.org/10.3917/presa.170.0169.

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Vincensini, Anne. "Les structures du cinéma en Afrique noire francophone." Netcom 7, no. 1 (1993): 210–25. http://dx.doi.org/10.3406/netco.1993.1168.

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