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Acknowledgments | |
Introduction | p. 3 |
Towards a Definition of Film Noir | p. 17 |
Noir Cinema | p. 27 |
Paint It Black: the Family Tree of the Film Noir | p. 37 |
Notes on Film Noir | p. 53 |
Some Visual Motifs of Film Noir | p. 65 |
No Way Out: Existential Motifs in the Film Noir | p. 77 |
Film Noir: A Modest Proposal | p. 95 |
Out of What Past? Notes on the B film noir | p. 107 |
Phantom Lady, Cornell Woolrich, and the Masochistic Aesthetic | p. 129 |
John Farrow: Anonymous Noir | p. 145 |
At the Margins of Film Noir: Preminger's Angel Face | p. 161 |
The Killers: Expressiveness of Sound and Image in Film Noir | p. 177 |
Mann in the Dark: the Films Noir of Anthony Mann | p. 189 |
Expressionist Doom in Night and the City | p. 203 |
Kiss Me Deadly: Evidence of a Style | p. 209 |
The Post-Noir P.I.: The Long Goodbye and Hickey and Boggs | p. 237 |
Film Noir, Voice-over, and the Femme Fatale | p. 243 |
What is This Called Noir? | p. 261 |
Angst at Sixty Fields per Second | p. 275 |
Miami Vice, The Legacy of Film Noir | p. 289 |
Kill Me Again: Movement becomes Genre | p. 307 |
Son of Noir: Neo-Film Noir and the Neo-B Picture | p. 331 |
Notes on Contributors | p. 339 |
Table of Contents provided by Blackwell. All Rights Reserved. |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.