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Published by Continuum, 1993
Sewn-bound hardcover
First printing
288 pages
10×7 inches
Near Fine condition. Comes in removable protective Brodart mylar cover
This book looks at film noir in general, with articles on, for example, the political background, the importance of psychoanalysis, and the techniques of suppressive narrative. Detailed analyses are given of many of the most notable movies, among them The Big Sleep, Double Indemnity, Out of the Past, and Kiss Me, Deadly, as well as of the film noir revival of the seventies and eighties. The text, written by a group of film critics and teachers mainly associated with Movie magazine, is illustrated throughout with highly evocative stills and frame enlargements. Movie magazine, with which most of the contributors to this book are associated, was founded in 1962 by Ian Cameron, Mark Shivas, V. F. Perkins, and Paul Mayersberg. It quickly attracted attention both for the quality of its contents and for its insistence on the virtues of American film, which had been neglected by the critical establishment of the time. It also promoted what has since become known as auteur criticism, which acknowledged the preeminence of the director as creator of a film.
Published by Continuum, 1993
Sewn-bound hardcover
First printing
288 pages
10×7 inches
Near Fine condition. Comes in removable protective Brodart mylar cover
This book looks at film noir in general, with articles on, for example, the political background, the importance of psychoanalysis, and the techniques of suppressive narrative. Detailed analyses are given of many of the most notable movies, among them The Big Sleep, Double Indemnity, Out of the Past, and Kiss Me, Deadly, as well as of the film noir revival of the seventies and eighties. The text, written by a group of film critics and teachers mainly associated with Movie magazine, is illustrated throughout with highly evocative stills and frame enlargements. Movie magazine, with which most of the contributors to this book are associated, was founded in 1962 by Ian Cameron, Mark Shivas, V. F. Perkins, and Paul Mayersberg. It quickly attracted attention both for the quality of its contents and for its insistence on the virtues of American film, which had been neglected by the critical establishment of the time. It also promoted what has since become known as auteur criticism, which acknowledged the preeminence of the director as creator of a film.
