Through A Noir Lens

Shadows. Smoke. Dark alleys. Rain-slicked city streets. These are iconic elements of film noir visual style. Long after its 1940s heyday, noir hallmarks continue to appear in a variety of new media forms and styles. What has made the noir aesthetic at once enduring and adaptable? Sheri Chinen Biesen explores how the dark cinematic noir style has evolved across eras, from classic Hollywood to present-day streaming services. Examining both aesthetics and material production conditions, she demonstrates how technological and industrial changes have influenced the imagery of film noir. When it emerged in the early 1940s, the visual style’s distinctive shadowy look was in part a product of wartime cinema conditions and technologies, such as blackouts and nitrate film stock. Since the 1950s, technical developments from acetate film stock and new cameras and lenses to lighting, color, and digitization have shaped the changing nature of noir style. Biesen considers the persistence of the noir legacy, discussing how neo-noirs reimagine iconic imagery and why noir style has become a touchstone in the streaming era. Drawing on a wealth of archival research, she provides insightful analyses of a wide range of works, from masterpieces directed by Billy Wilder and Alfred Hitchcock to New Hollywood neo-noirs, the Coen brothers’ revisionist films, and recent HBO and Netflix series. A groundbreaking technological and industrial history of an essential yet slippery visual style, Through a Noir Lens shines a light into the shadows of film noir.

This collection of essays examines how New York and Los Angeles are depicted in noir and neo-noir films from the 1940s through the 21st century. These essays consider how the architectural sights and city sounds inform such films as Cotton Comes to Harlem, Drive, Kiss of Death, Naked City, and Nightcrawler, among others.

A multicultural nexus, Toronto hosts Indian, Portuguese, African, Italian, and Chinese communities that provide fertile backdrops for Toronto Noir's corrosive expos s. Features brand-new stories by: RM Vaughan, Nathan Sellyn, Ibi Kaslik, Peter Robinson, Heather Birrell, Sean Dixon, Raywat Deonandad, Christine Murray, Gail Bowen, Emily Schultz, Andrew Pyper, Kim Moritsugu, Mark Sinnet, George Elliott Clarke, Pasha Malla, and Michael Redhill.

Welcome to the world of noir musical films, where tormented antiheroes and hard-boiled musicians battle obsession and struggle with their music and ill-fated love triangles. Sultry divas dance and sing the blues in shrouded nightclubs. Romantic intrigue clashes with backstage careers. This book explores musical films that use film noir style and bluesy strains of jazz to inhabit a disturbing underworld and reveal the dark side of fame and the American Dream. While noir musical films like A Star Is Born include musical performances, their bleak tone and expressionistic aesthetic more closely resemble the visual style of film noir. Their narratives unfold behind a stark noir lens: distorted, erratic angles and imbalanced hand-held shots allow the audience to experience a tortured, disillusioned perspective. While many musicals glamorize the quest for the spotlight in Hollywood's star factory, brooding noir musical films such as Blues in the Night, Gilda, The Red Shoes, West Side Story, and Round Midnight stretch the boundaries of film noir and the musical as film genres collide. Deep shadows, dim lighting and visual composition evoke moodiness, cynicism, pessimism, and subjective psychological points of view.

Scholars have often read the book of Revelation in a way that attempts to ascertain which Old Testament book it most resembles. Instead, we should read it as a combined and imitative text which actively engages the audience through signalling to multiple texts and multiple textual experiences: in short, it is an act of pastiche. Fletcher analyses the methods used to approach Revelation's relationship with Old Testament texts and shows that, although there is literature on Revelation's imitative and multi-vocal nature, these aspects of the text have not yet been explored in sufficient depth. Fletcher's analysis also incorporates an examination of Greco-Roman imitation and combination before providing a better way to understand the nature of the book of Revelation, as pastiche. Fletcher builds her case on four comparative case studies and uses a test case to ascertain how completely they fit with this assessment. These insights are then used to clarify how reading Revelation as imitative and combined pastiche can challenge previous scholarly assumptions, transforming the way we approach the text.

About the Book "Architecture on Screen" is an exciting journey where architecture and film come together to create something unique. Author, AygulAbizgildina, Assoc. AlA, Architectural Designer, reveals the fascinating interplay between these two worlds and offers new ideas about spaces, culture and storytelling. Abizgildina shows how films enrich architectural design by creating spaces that reflect cultures and societies. It combines film and architecture as a tool that conveys emotions, beliefs and ideas, shaping our stories. The analysis of cinematographic works opens before us pictures of different eras, fixing changes in architecture over time. Abizgildina introduces the thought-provoking concept of the "Dual Space," seamlessly blending the real and the staged, ultimately reshaping our perceptions of architectural boundaries.. Through the study of the Sancaklar Mosque as a case study, you will see how light and shadow create storytelling in architecture. This mosque uses light to create sacred spaces, showing the power of architectural storytelling through film. The book delves into the transformative impact of technology on architecture, illustrating how the fusion of film and technology enables us to perceive spaces through dynamic moving images. "Architecture on Screen" is a celebration of the interaction between film and architecture. Abizgildina deftly illustrates how films and society engage in a harmonious dance, presenting a persuasive argument that architecture extends beyond mere buildings; it encompasses culture, storytelling, and the connections that bind us. This book extends a warm invitation to architects, filmmakers, students, and creatives to embark on a thrilling exploration of the symbiotic relationship between architecture and cinema. It opens doors to groundbreaking designs, cultural revelations, and a deeper appreciation for the seamless fusion of spaces and narratives, all catalyzed by the enchanting magic of cinema.

Brand new stories by: Ken Bruen, Eoin Colfer, Jason Starr, Laura Lippman, Olen Steinhauer, Peter Spiegelman, Kevin Wignall, Jim Fusilli, John Rickards, Patrick J. Lambe, Charlie Stella, Ray Banks, James O. Born, Sarah Weinman, Pat Mullan, Gary Phillips, Craig McDonald, Duane Swierczynski, Reed Farrel Coleman, and others. Irish crime-fiction sensation Ken Bruen and cohorts shine a light on the dark streets of Dublin. Dublin Noir features an awe-inspiring cast of writers who between them have won all major mystery and crime-fiction awards. This collection introduces secret corners of a fascinating city and surprise assaults on the "Celtic Tiger" of modern Irish prosperity. "The stories paint a picture of Dublin as the Celtic Tiger, a beast crouched on its hind legs about leap at you and roaring with its intensity . . . The cynicism and despair of classic noir is portrayed within each of these stories." --Metro LA "Dublin Noir is perhaps the best short story anthology I've read." --Reviewing the Evidence

This book combines film studies with urban theory in a spatial exploration of twentieth century Los Angeles. Configured through the dark lens of noir, the author examines an alternate urban history of Los Angeles forged by the fictional modes of detective fiction, film noir and neo noir. Dark portrayals of the city are analyzed in Raymond Chandler’s crime fiction through to key films like Double Indemnity (1944) and The End of Violence (1997). By employing these fictional elements as the basis for historicising the city’s unrivalled urban form, the analysis demonstrates an innovative approach to urban historiography. Revealing some of the earliest tendencies of postmodern expression in Hollywood cinema, this book will be of great relevance to students and researchers working in the fields of film, literature, cultural and urban studies. It will also be of interest to scholars researching histories of Los Angeles and the American noir imagination.