The Philosophy of Neo-Noir

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  • The Philosophy of Neo-Noir Book Detail

  • Author : Mark T. Conard
  • Release Date : 2007-01-05
  • Publisher : University Press of Kentucky
  • Genre : Performing Arts
  • Pages : 222
  • ISBN 13 : 0813172306
  • File Size : 40,40 MB

The Philosophy of Neo-Noir by Mark T. Conard PDF Summary

Book Description: Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood's best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits. The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre's limitations and open new paths of cinematic and philosophical exploration.

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The Philosophy of Neo-Noir

The Philosophy of Neo-Noir

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Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and lig

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The Philosophy of Film Noir

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Explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Fran

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This book reveals the ways in which American film noir explore the declining credibility of individuals as causal centers of agency, and how we live with the ac

The Philosophy of Film Noir

The Philosophy of Film Noir

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From The Maltese Falcon (1941) to Touch of Evil (1958), the classic film noir is easily recognizable for its unusual lighting, sinister plots, and feeling of pa

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Neo-Noir as Post-Classical Hollywood Cinema

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Neo-Noir as Post-Classical Hollywood Cinema suggests the terms “noir” and “neo-noir” have been rendered almost meaningless by overuse. The book seeks to