Called the most beautiful woman in movie history, Gene Tierney starred in a number of 1940s classics, including Laura, Leave Her to Heaven and The Ghost and Mrs. Muir. Her on-screen presence and ability to transform into a variety of characters made her a film legend. Her personal life was a whirlwind of romance (she married a count, was engaged to a prince, and was courted by a future president) and tragedy (her daughter was born with severe retardation and Tierney herself struggled with mental illness). After years of treatment, including electroshock therapy that erased portions of her life from her memory, she triumphantly returned to Hollywood in the biggest comeback of any star in history.
This, the first complete biographical work since the actresses' death on November 6, 1991, covers everything from her birth in 1920; through her rise to fame, turbulent love life, fight with mental illness, and triumphant return to Hollywood; to her retirement in her 40s and death. Beginning with a foreword by her daughter, Christina Cassini, an extensive filmography provides the cast and crew of each film and television appearance, production and release dates, running times, and a brief synopsis. Additional information covers locations, box office take, awards, behind-the-scenes details, and memorable quotes. The work includes many rare photographs from both on and off screen.

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22,0 MB
4 maj 14 12:29

Death on the Cheap. The Lost B Movies of Film Noir (by Arthur Lyons) (2000).pdf

Robert Mitchum once commented to Arthur Lyons about his movies of the 1940s and 1950s: "Hell, we didn't know what film noir was in those days. We were just making movies. Cary Grant and all the big stars at RKO got all the lights. We lit our sets with cigarette butts." Film noir was made to order for the "B," or low-budget, part of the movie double bill. It was cheaper to produce because it made do with less lighting, smaller casts, limited sets, and compact story lines—about con men, killers, cigarette girls, crooked cops, down-and-out boxers, and calculating, scheming, very deadly women. In Death on the Cheap, Arthur Lyons entertainingly looks at the history of the B movie and how it led to the genre that would come to be called noir, a genre that decades later would be transformed in such "neo-noir" films as Pulp Fiction, Fargo, and L.A. Confidential. The book, loaded with movie stills, also features a witty and informative filmography (including video sources) of B films that have largely been ignored or neglected—“lost" to the general public but now restored to their rightful place in movie history thanks to Death on the Cheap.

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19,9 MB
4 maj 14 12:29

L.A. Noir. The City As Character (by Alan Silver & James Ursini) (2005).pdf

Los Angeles has always been as much a star in film noir as any actor, be it Humphrey Bogart, Barbara Stanwyck, Burt Lancaster, Ava Gardner or Jack Nicholson. In L.A. Noir: The City as Character renowned film historians Alain Silver and James Ursini explore the world of noir cinema in the context of Los Angeles. The book features dozens of noir and neo-noir landmark films from Double Indemnity, Criss Cross, Sunset Boulevard, Gun Crazy, The Big Heat, Kiss Me Deadly, and Touch of Evil in the classic period (1940-1960) to such neo-noir notables as Chinatown, L.A. Confidential, Mulholland Drive, and Pulp Fiction.

L.A. Noir illustrates how these noir films use L.A.'s diverse cityscape and architecture to convey a unique vision of urban corruption and existential fatalism, not only in the ever-changing, chaotic downtown of Bunker Hill, Main Street, and Chinatown, but in its affluent coastal communities (Santa Monica, Malibu) as well as its deceptively sunny suburbs (South Bay, San Fernando Valley). The authors deftly analyze the key films of noir while integrating them into the geography and history of this "dark city" which became such an important icon of noir literature and film.

L.A. Noir is profusely illustrated with approximately 150 photographs-many of them appearing in print for the very first time-including production stills from the movies discussed, archival photos of the locations from the films and new photographs of the locations today, chronicling the ever-changing cityscape of this noir character-Los Angeles.

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5,6 MB
4 maj 14 12:29

Dreams and Dead Ends. The American Gangster Film ( by Jack Shadoian) (2003).pdf

Dreams and Dead Ends provides a compelling history of the twentieth-century American gangster film. Beginning with Little Caesar (1930) and ending with Things To Do In Denver When You're Dead (1995), Jack Shadoian adroitly analyzes twenty notable examples of the crime film genre. Moving chronologically through nearly seven decades, this volume offers illuminating readings of a select group of the classic films--including The Public Enemy, D.O.A., Bonnie and Clyde, and The Godfather--that best define and represent each period in the development of the American crime film. Richly illustrated with more than seventy film stills, Dreams and Dead Ends details the evolution of the genre through insightful and precise considerations of cinematography, characterization, and narrative style. This updated edition includes new readings of three additional movies--Once Upon a Time in America, Things To Do In Denver When You're Dead, and Criss Cross--and brings this clear and lively discussion of the history of the gangster film to the end of the twentieth century.

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2,7 MB
4 maj 14 12:29

Noir Anxiety (by Kelly Oliver & Benigno Trigo) (20 03).pdf

Among the elements that define the classic film noir-chiaroscuro lighting, voice-over narration, and such archetypal characters as the world-weary private eye and the femme fatale-perhaps no element is more responsible for the genre's continued popularity among movie buffs, filmmakers, and critics than the palpable sense of anxiety that emanates from the screen. Because the genre emerged in the shadow of the Second World War, this profound psychological and philosophical unease is usually ascribed either to postwar fears about the atomic bomb or to the reactions of returning soldiers to a new social landscape. In Noir Anxiety, however, Kelly Oliver and Benigno Trigo interpret what has been called the "free-floating anxiety" of film noir as concrete apprehensions about race and sexuality.
Applying feminist and postcolonial psychoanalytic theory to traditional noir films (Murder, My Sweet; The Lady from Shanghai; Vertigo; and Touch of Evil) and the "neo-noirs" of the 1970s, 1980s, and 1990s (Chinatown, Devil in a Blue Dress, and Bound), the authors uncover a rich array of unconscious worries and desires about ambiguous sexual, racial, and national identities, often displaced onto these films' narrative and stylistic components. In particular, Oliver and Trigo focus on the looming absence of the mother figure within the genre and fears about maternal sexuality and miscegenation. Drawing on the work of Freud and Julia Kristeva, Noir Anxiety locates film noir's studied ambivalence toward these critical themes within the genre's social, historical, and cinematic context.

Kelly Oliver is professor of philosophy and women's studies and Benigno Trigo is associate professor of Hispanic languages and literature, both at Stony Brook University. Oliver is the author of five books, including Witnessing: Beyond Recognition (Minnesota, 2001). Trigo is author of Subjects of Crisis: Race and Gender as Disease in Latin America (1999).

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8,4 MB
4 maj 14 12:29

Hollywood Genres and Post-war America. Masculinity , Family and Nation in Popular Movies and Film Noi r (by Mike Chopra-Gant) (2006).pdf

American culture after the end of World War II has been characterized by an abiding pessimism most clearly manifested in the film noirs of the period. Mike Chopra-Gant challenges this "noir and Zeitgeist" reading and proposes that the view of American cinema and society it develops relies on a retrospective re-imagining of the era, based on the erroneous promotion of selected movies. His vigorous revisionist account of the films and culture of the period also challenges traditional approaches to genre, to masculinity and the family, by focusing on key themes in the most popular films in terms of box office revenues, including Best Years of Our Lives, Night and Day, Scarlet Street and Gilda.

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1,0 MB
4 maj 14 12:29

The Street Was Mine. White Masculinity in Hardboil ed Fiction and Film Noir (by Megan E. Abbott) (200 2).pdf

This book considers a recurrent figure in American literature: the solitary white man moving through urban space. The descendent of 19th-century frontier and western heroes, the figure reemerges in 1930s-’50s America as the “tough guy.” The Street Was Mine looks to the tough guy in the works of hardboiled novelists Raymond Chandler (The Big Sleep) and James M. Cain (Double Indemnity) and their popular film noir adaptations. Focusing on the way he negotiates racial and gender “otherness,” this study argues that the tough guy embodies the promise of an impervious white masculinity amidst the turmoil of the Depression through the beginnings of the Cold War. The book concludes with an analysis of Chester Himes, whose Harlem crime novels (For Love of Imabelle) unleash a ferocious revisionary critique of the tough guy tradition.

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1,7 MB
4 maj 14 12:29

Film Noir and the Cinema of Paranoia (by Wheeler W inston Dixon) (2009).pdf

Noir. A shadow looms. The blow, a sharp surprise. Waking and sleeping, the fear is with us and cannot be contained. Paranoia.
Wheeler Winston Dixon's comprehensive work engages readers in an overview of noir and fatalist film from the mid-twentieth century to the present, ending with a discussion of television, the Internet, and dominant commercial cinema. Beginning with the 1940s classics, Film Noir and the Cinema of Paranoia moves to the "Red Scare" and other ominous expressions of the 1950s that contradicted an American split-level dream of safety and security. The dark cinema of the 1960s hosted films that reflected the tensions of a society facing a new and, to some, menacing era of social expression. From smaller studio work to the vibrating pulse of today's "click and kill" video games, Dixon boldly addresses the noir artistry that keeps audiences in an ever-consumptive stupor.

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0,5 MB
4 maj 14 12:29

Film Noir. Films of Trust and Betrayal (by Paul Du ncan) (2006).pdf

The laconic private eye . . . the corrupt cop . . . the heist that goes wrong . . . the femme fatale with the rich husband and dim lover—all are trademark characters of the movement known as film noir, that elusive mixture of stark lighting and even starker emotions. "Noir" explores the dark side of post-war society—gangsters, hoodlums, prostitutes, and killers—and shows how it corrupted the good and the beautiful. Many of these films are now touchstones of classic Hollywood—The Maltese Falcon (1941), The Big Sleep (1946), Double Indemnity (1944), and The Postman Always Rings Twice (1946). This Pocket Essential charts the progression of the noir style as a vehicle for filmmakers, who wanted to record the darkness at the heart of American society as it emerged from World War into Cold War. As well as an introductory essay on the origins of film noir, this guide discusses all the classics from the heyday of the movement in detail and includes a handy reference section for readers who want to know more.

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6,3 MB
4 maj 14 12:29

Encyclopedia of Film Noir (by Geoff Mayer & Brian McDonnell) (2007).pdf

When viewers think of film noir, they often picture actors like Humphrey Bogart playing characters like Sam Spade in The Maltese Falcon, the film based on the book by Dashiell Hammett. Yet film noir is a genre much richer. The authors first examine the debate surrounding the parameters of the genre and the many different ways it is defined. They discuss the Noir City, its setting and backdrop, and also the cultural (WWII) and institutional (the House UnAmerican Activities Committee, and the Production Code Administration) influences on the subgenres. An analysis of the low budget and series film noirs provides information on those cult classics. With over 200 entries on films, directors, and actors, the Encyclopedia of Film Noir is the most complete resource for film fans, students, and scholars.

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