Overview

"Film Noir offers new perspectives on this highly popular and influential film genre, providing a useful overview of its historical evolution and the many critical debates over its stylistic elements. Brings together a range of perspectives on a topic that has been much discussed but remains notoriously ill-defined Traces the historical development of the genre, usefully exploring the relations between the films of the 1940s and 1950s that established the ""noir"" universe and the more recent films in which it has been frequently revived Employs a clear and intelligent writing style that makes this the perfect introduction to the genre Offers a thorough and engaging analysis of this popular area of film studies for students and scholars Presents an in-depth analysis of six key films, each exemplifying  important trends of film noir: Murder, My Sweet; Out of the Past; Kiss Me Deadly; The Long Goodbye; Chinatown; and Seven"

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9781405145954

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Reviews

It is the most comprehensive and lucid study of the genre I have read ... I was also impressed with Luhr's handling of the shift in Hollywood from the 1930s to 1940s. The morally compromised heroes of the 1940s were unthinkable in the 1930s. Like all good film critics, Luhr makes me want to see my favorite films again because he has shown me things I missed. And then there are all those films I didn't see that are now on my list because of William Luhr. ( Carl Rollyson , 16 June 2012)

<p> It is the most comprehensive and lucid study of the genre I have read I was also impressed with Luhr's handling of the shift in Hollywood from the 1930s to 1940s. The morally compromised heroes of the 1940s were unthinkable in the 1930s. Like all good film critics, Luhr makes me want to see my favorite films again because he has shown me things I missed. And then there are all those films I didn't see that are now on my list because of William Luhr. (Carl Rollyson, 16 June 2012) <p>

<p> It is the most comprehensive and lucid study of the genreI have read I was also impressed with Luhr's handling ofthe shift in Hollywood from the 1930s to 1940s. The morallycompromised heroes of the 1940s were unthinkable in the 1930s.Like all good film critics, Luhr makes me want to see my favoritefilms again because he has shown me things I missed. And then thereare all those films I didn't see that are now on my list because ofWilliam Luhr. (Carl Rollyson, 16 June 2012) <p>

Author Information

William Luhr is Professor of English at St. Peter's College, Co-Chair of the Columbia University Seminar on Cinema and Interdisciplinary Interpretation, and Standing Editor of the Oxford University Press Online Bibliography on Cinema and Media Studies. He is the editor of The Coen Brothers’ Fargo (2004) and The Maltese Falcon: John Huston, Director (1995) and the author of, amongst others, Screening Genders (with Krin Gabbard, 2008), Thinking About Movies: Watching, Questioning, Enjoying, third edition (co-author with Peter Lehman, 2008) and Raymond Chandler and Film, second edition (1991).

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