Produktdetaljer
Biografisk notat
Andrew Spicer is Reader in Cultural History in the Bristol School of Art, Media and Design, University of the West of EnglandEuropean Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form.
The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts.
European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.
List of illustrations
Notes on contributors
Acknowledgements
1. Introduction - Andrew Spicer
2. French Film Noir - Ginette Vincendeau
3. French Neo-Noir to Hyper-Noir- Phil Powrie
4. British Film Noir - Robert Murphy
5. British Neo-Noir - Andrew Spicer
6. German Cinema and Film Noir - Tim Bergfelder
7. German Neo-Noir - Paul Cooke
8. Spanish Film Noir - Rob Stone
9. Spanish Neo-Noir- Ann Davies
10. Italian Film Noir - Mary P. Wood
European Film Noir is the first book to bring together specialist discussions of film noir in specific European national cinemas. Written by leading scholars, this groundbreaking study provides an authoritative understanding of an important aspect of European cinema and of film noir itself, for too long considered as a solely American form.
The Introduction reviews the problems of defining film noir, its key characteristics and discusses its significance to the development of European film, the relationship of specific national films noirs to each other, to American noir and to historical and social change. Eight chapters then discuss film noir in France, Germany, Britain and Spain, analysing both earlier developments and the evolution of neo-noir through to the present. A further chapter explores film noir in Italian cinema where its presence is not so well defined. Each piece provides a critical overview of the most significant films in relation to their industrial and social contexts.
European Film Noir is an important contribution to the study of European cinema that will have a broad appeal to undergraduates, cinéastes, film teachers and researchers.