Class, Crime and International Film Noir [electronic resource] : Globalizing America's Dark Art /
Broe, D.author.
Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.
Description based upon print version of record.
Cover; Contents; List of Figures; Foreword; Preface: On Symbolic Misery and Its Attenuation (and the Crime Film); Acknowledgments; Introduction: Global Fugitives - Outside the Law and the Cold War ''Consensus''; Global war followed by global war: all they were saying was ''don''t give peace a chance''; Post-war film industry: resisting the behemoth or Jason and the Argonauts meet Cyclops; Il Fugitivo: film noir and the ''International Popular''; Class and the crime film; Film noir: going global or (always, already) gone global; How to read a film (noir)
1 Une grève, sanglante et poétique (A Strike, Bloody and Poetic): French Film Noir and the Defeat of the Popular Front1 It is not necessary to know when to end a strike; 2 The (peculiarly French) genius of the system; What is the crime of shooting a film compared to the crime of financing one?; 3 Mode of production begets (aesthetic) relations of production, or les temps noir fait les films noir (dark times call for dark films); 4 Le plus noir de la noir (the darkest of the dark); Le Quai des brumes and working-class tragedy; La Bête humaine and the weight of the Industrial Revolution
Le Jour se lève and the introjection of defeat2 The Revolution that Wasn''t: Black Markets, Ressentiment, and Survival in Post-War British Film Noir; 1 Socialism deferred: actual labor versus Attlee''s Labour Government; 2 Post-war British mode of production: the long night of concentration, colonization, and censorship; 3 Something dark this way comes: the sordid underbelly of aristocratic socialism; 4 Fractured class fairy tales: film noir and the dawning of (British cinematic) class consciousness; It Always Rains on Sunday/Good-Time Girl: working-class rebellion tamed
The Third Man: Labour foreign policy laid bareHell Drivers and the moment of working-class noir; 3 The Wintering of the Italian Spring: From Neorealism to Film Noir via Verdi; 1 From revolution to rollback: democracy contained and subordinated to (US) capital; 2 Runaway realism: how Italian films learned to stop worrying and love the box office; 3 Classic Italian film noir: the dark side of neorealism; 4 Strands of Italian noir; Noir and fascism: Ossessione; Noir and the Italian Spring: Tragic Pursuit/Bitter Rice; Noir and the ''economic miracle'': Story of a Love Affair/The Challenge
4 Occupy the Zaibatsu: Post-War Japanese Film Noir from Democracy to the (Re)Appearance of the (Old) New Order1 Not going gently into that good night: Japanese workers of the (post-war) world unite; 2 We''re not in Kansas anymore, Toho: Japanese studio production in the classic noir era; 3 Japanese film noir and post-war critique: the Owl of Minerva flies a little after dusk; 4 Establishing the noir tradition; Kurosawa''s one-man band: Drunken Angel and Stray Dog; Mizoguchi''s criminalizing of the patriarchy: Women of the Night and Street of Shame
Something''s rotten in Nippon: The Bad Sleep Well and the victory of corporate power
Includes bibliographical references and index.
Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.
Motion pictures-European influences.
Motion pictures-United States.
Motion pictures-Production and direction.
Film genres.
Motion pictures and television.
Communication.
European Cinema and TV.
American Cinema and TV.
Directing.
Genre.
Screen Studies.
Media Studies.