Book Description
Welcome to Dark City, urban landscape of the imagination. A place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life. Eddie Muller, who led readers on a guided tour of the seamier side of motion pictures in Grindhouse: The Forbidden World of 'Adults Only' Cinema, now takes us on a spellbinding trip through treacherous terrain: Hollywood in the post-World War II years, when art, politics, scandal, style--and brilliant craftsmanship--produced a new approach to moviemaking, and a new type of cultural mythology.
Customer Reviews:
Gin and Cigarettes.......2007-10-08
If you are interested in film noir and looking to purchase a single book on the subject, this is the title that I would recommend. There are dozens of other books available, but this is the one that I would deem as being essential for a beginner. The text of "Dark City: The Lost World of Film Noir" is lavishly illustrated with publicity stills and film posters. The writing is uniformly engaging and highly addictive.
The author, Eddie Muller, is a man of parts. He has written novels and biographies, he has provided informative and entertaining commentary tracks as bonus materials for dvds, he has hosted and programmed film festivals and interviewed actors and actresses from Hollywood's Golden Age, he helped found a not for profit corporation that labors to restore vintage films that might otherwise be lost due to the decomposition of nitrate stock while studio attorneys quarrel over ownership issues and so much more. Muller has an interest in prize fighting and exploitation films. He was writing about the grindhouse cinemas long before Quentin Tarantino developed a feature film screenplay on the same topic. Muller is a minor expert on the architecture and geography of his hometown, San Francisco, and can identify all of the filming locations used in the noirs set there, including former landmark buildings that are now demolished.
Given his varied interests, Muller's writing reflects his overall versatility. He is not a one trick pony who rewrites the same book and repeats the same anecdotes over and over again. Muller is authoritative, but humble and approachable at the same time. He does not take himself too seriously and he remains an unrepentant enthusiast. Any man who could attend a revival screening of "Born to Kill" and keep the volatile Lawrence Tierney on a short leash is someone to be admired. Muller received an affectionate head butt for his troubles from Tierney one of Hollywood's most celebrated barroom pugilists and back alley brawlers.
His online essay on the eventful day is hilarious.
As to the subject at hand, film noir, Muller's carefully crafted prose reads as if it were transcribed from a performance by an accomplished improvisational jazz musician, although Muller would be the first to point out that the widespread public association of film noir with jazz is overstated (noir films did not typically include jazz scores until relatively late into the film noir cycle). Many standard reference books on the subject are written by film school professors and academics. Regrettably, some of these scholarly tomes are decidedly dull. Muller is refreshingly readable in contrast and could go fifteen rounds with any of the film school lecturers without putting anyone to sleep. He can hold his own against the scholars and specialists, but his writing reflects a liberal arts background that will resonate with the masses.
If you finish this book, you will learn about the pulp fiction and detective writers who produced the paperbacks that were adapted for the movies, the economics of the "B" film units at the studios, marketing techniques and poster art used to sell the flicks and put fannies in the theater seats, the production code censors and the back stories on the people who made the movies. Edgar G. Ulmer, for example, worked on such a tight budget for the one week wonder "Detour" that the total amount of raw film stock, as measured in feet, available to him for the feature was rationed by the studio penny pinchers at Producers Releasing Corporation.
This book is great fun and it holds up well for rereading. My only complaint is that Muller concentrated on the output of the major studios almost exclusively and, largely, overlooked Poverty Row productions, but that is a small criticism. After reading this book, you may subscribe to Netflix to secure more film titles that were once staples on the late, late show.
Muller does not pull any punches. You may not agree with all of his opinions, but you can respect his positions. The book cover is based upon a scene in the climax of the movie "Dead Reckoning." Muller pans the film for its shortcomings, which include a confusing plot, and relates the problematic history of its script going through multiple rewrites by several writers before the film was shot. I have always enjoyed the film, but Muller recognizes its deficiencies that rendered it good rather than great.
Naturally enough, the book incorporates some of the best dialogue from the movies. Highly recommended.
The only one you need.......2007-04-25
Hands down the best book on film noir. Enough facts for the academics and enough fun for the rest of us. Fantastic layout and though some have trouble with the hard-boiled writing style, I loved it and it comes from a master - check out Muller's novels too!
a brilliant and delightful book by eddie muller!.......2007-01-14
more than you ever knew about film noir, eddie muller plunges the reader into the dark and seamy side of hollywood. a fabulous history of film noir with rare and splendid posters, photographs, and insider stories that can only be found here and as only eddie can tell them.
i highly recommend this book. a must have for every film buff and serious collector.
All flash--a Tommy gun full of blanks.......2005-11-26
I will grant that film noir is mostly about style, that's film noir the thing in itself, not the explanation. Muller tries to write like the hard-boiled wordsmiths that helped give noir its flavor; but he adds so much useless patter as to give the impression that, like them, he is being paid by the word. In the end this book is about as satisfying as getting nicotine from a patch. The two stars are for the pictures.
As fast and stylish as its subject matter.......2005-10-02
When most noir-era directors are presented with what the critics have read into their films, they tend to laugh. What they were making-- as Muller points out-- were known as either crime dramas or murder dramas. They were made on the cheap, with their dark themes and fast pace borrowed from harboiled crime writing, and with lots of tricks learned from German Expressionism. They were stylish B-movies.
Finally, a book has come along that deals with these films and filmmakers pretty much on their own terms. -Highly visual and fast paced. Muller looks at subgenres and trends, but focuses more on looking at the often tortured lives of the people who made these films, and on the turbulent period in Hollywood that the 40s and 50s were.
One of my favorite film books, period.
Book Description
The 1992 release of the "Director's Cut" only confirmed what the international film cognoscenti have know all along: Ridley Scott's Blade Runner, based on Philip K. Dick's brilliant and troubling SF novel Do Androids Dream of Electric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made.
Future Noir is the story of that triumph.
The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.
A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.
Customer Reviews:
Tabloid Trash.......2006-05-28
At best, this book should be looked at if you're interested in the facts behind the production of the film and you're able to look past Sammon's masturbative narrative.
While the book is informative on what happened and the difficulties behind the making of the film, the author's writing ability is about the same as someone standing next to you with a bullhorn. Self-aware and bordering on narcistsic, Sammon's dirt-basic writing ability has a constant feel of "Hey! I was here to see all this!" attitude that really undermines his attempt at objective writing.
Frustrating and amatuerish, "Future Noir: The Making of Blade Runner" is an unworthy footnote and a worthwhile coffee coaster.
Interesting but lacking in proof.......2005-07-05
The book provides a fascinating look into the trials and tribulations that was the making of Blade Runner. The movie is easily Scott's best, and his relentless pushing of the cast and crew is a testament to his determination and vision. Future Noir gives an in depth view of all the turmoil; the "various cuts debacle", the studio interference, the collaboration, and the omnipresent friction.
It is worth the read but the writer's prejudices are just that. This is not the most influential scifi made. It was a quiet, intellectual scifi and I'm not sure it's influence can ever be quantified. But I enjoyed it-actually it is my favorite scifi behind The Phantom Menace(that's a joke people)-and I enjoyed this book.
Minute Production Details, No Proof of the Filmýs Influence.......2002-10-26
This is a fantastic book and reference tool, and a must-have for any hard-core Blade Runner (BR) fanatic. It's packed with names, places, dates, fascinating factoids throughout, a trivia cornucopia. But, you've gotta be a serious BR fan to stick with author Paul Sammon all the way through this densely detailed, thorough, and clearly personally meaningful work. The book does have one major flaw: Sammon's failure to prove his subtitle promise that Blade Runner is the most influential sci-fi film of all time.
The book reads easily and well, Sammon's style informal. He writes as one BR fan to another, a great approach. The production details are thorough, insightful, and wonderful to read, 441 pages in 18 chapters, with nine appendices containing interviews, production details, the cast list, etc. Sammon is a total BR devotee, I compliment and commend him on his achievement and the recognition of those who worked so hard to make BR.
There is vast information throughout from all members of the cast and crew, all of them supportive of Sammon's effort to tell their story. There is surprisingly liberal information from the movie's principals, Ridley Scott, Harrison Ford, Sean Young, Michael Deeley, Syd Mead, Hampton Fancher and David Peoples. One disappointment is the absence of direct input and comment from the soundtrack maestro, Vangelis. Sammon nevertheless gives him thorough justice.
Wonderful esoteric tidbits abound through the book, such as the revelation that the original lead was not Harrison Ford, but Dustin Hoffman. Edward James Olmos provides great background on his preparation for his role as Gaff and his detailed construction of his Cityspeak dialog (most of it sadly unused). We learn of fantastic special effects scenes never realized, and that in the background in one of the aerial city shots is a painted Millennium Falcon model. We learn that the process of creating this movie was a years-long, highly personal effort, first by Hampton Fancher to secure rights and create a screenplay, then later by Ridley Scott and other members of the team who continued to craft the film even after they were fired by the production company. It is a story of dedication to craft and art from a group of artists looking to raise diverse artistic, social, moral, and ethical issues with this genre-transcending film. I often was reminded of the documentary Hearts of Darkness, the story of Francis Ford Coppola's unending dedication to and struggles with the making of Apocalypse Now.
Highlighted superbly in the book is the true key to BR's success, Ridley Scott's intense attention to detail, his relentless questioning of the larger context and physical placement of the story. For example, Scott insisted on instructions painted on the futuristic parking meters in the street scenes. Absolutely illegible in the finished film, this sort of detail nonetheless set a compelling, even subconscious tone for the set and those who worked within it.
Particularly entertaining is Chapter 8, the scene by scene account of the shoot, with comment from the actors, producers, specialists, crew, and Scott. Also very useful for the true BR fanatic are the appendices listing all of the various BR versions, their formats, availability, and catalog information. Sammon does the same for the various soundtracks and musical compositions heard throughout the film, even the music and lyrics from the advertisements sported on the ad-blimps. Especially enjoyable is Appendix C's detailed list of "blunders," a compendium of the film's both obvious and subtle continuity errors, dubbing flaws, and inserted footage.
There are dozens of illustrations throughout the book, and Sammon gives due credit to BR's still photographer for the hundreds of stills that BR fans know and collect. The main problem is that the ONLY color photos in the entire book are on the front and back covers. The B/W photos in the book are small, grainy, poorly reproduced, and do not reflect Sammon's praise. These sorry photos do not allow the reader, who hasn't seen many of these never-before-published stills and production drawings, to revel in the details.
Sammon is overly obsessed with cataloging ALL of the different versions of the film, and detailing the most minute differences. We have chapter after repetitive chapter discussing the differences between the Workprint, the pre-release revisions, the theatrical release, the various video, broadcast, and satellite releases, as well as the competing director's cuts. The fascinating core tale of the political, economic, and artistic fights over all of these versions of the film is lost as Sammon loses track and focuses too closely on the details of the different versions, obsessing to the point of irrelevance on miniscule details. For the BR fanatic this is invaluable, but for most readers this makes the narrative tedious and repetitive, given this technical information is available also in Appendix B.
Sammon's promised discussion of BR's influence on sci-fi film is absent. His subtitle, "The Fascinating Story Behind the . . . Most Influential SF Film Ever Made" promises a discussion of BR's influence on filmdom. His discussion is poorly introduced, disorganized, and sorrowfully weak on supporting facts and testimonials, leading ultimately to the conclusion that BR simply is NOT the most influential sci-fi film of all time. In fact, the paltry six-page discussion of BR's influence is one of the shallowest, most poorly researched and organized parts of the entire book. Sammon's strength and enthusiasm clearly lie in the film's production details. Nowhere in the book does he cite any filmmaker, actor, editor, producer, or special effects artist describing BR as an influence.
This book is an invaluable acquisition for any die-hard BR fan, and a great memoir for any student of filmmaking. It's not for the casual BR or film fan; it's a cult book, just as Blade Runner is a cult film. Disappointingly, Sammon fails to deliver a crucial element of his work, a thorough and convincing discussion of BR's influence on cinema and its place in greater filmdom.
Blade Runner Bible.......2002-10-04
The book is written by Paul M. Sammon in 1996, about 15 years since the original release and 4 years after the Director's Cut re-release. As he explains in the opening chapter of the book, Sammon worked for a science fiction magazine called Cinefantastique, and what began as a double-issue special on the making of the highly-anticipated film Blade Runner eventually evolved into what Sammon calls an "exhaustive archaeology" of information regarding the film.
The novel is simply an overwhelming wealth of information on all things Blade Runner; chapters focus on every minute detail such as the evolution of the story as it passed through the hands of Phillip K. Dick's novel, Hampton Fancher's screenplay, then into the hands of David Peoples and Ridley Scott. Chapter VIII is such a delight, as it meticulously works through each scene in the film, stopping along the way to add tidbits of info such as exclusive interviews with the actors. Sammon apparently also had the luxury of roaming the set of Blade Runner, and he reveals things such as the futuristic magazine covers he would see on the magazine racks and many other incredibly obscure decorations the design team threw in that are virtually impossible to see when you watch the film.
Like the other reviewers, I agree that Sammon is not perhaps the most skilled writer, and the prose of the book is very choppy and (especially in Chapter I) pretty corny. What troubles me most, though, is that Sammon has a particularly annoying habit of throwing out names without properly introducing them and explaining their role in the Blade Runner universe. Mercifully, there is a cast and crew listing printed as an appendix, which is a great help. This, and some of the other errors in the book seem quite obvious, and it leaves one wondering who was in charge of the editing.
Anyhow, the book allows great insight into the workings of the film, all gathered from what must be piles and piles of notes and cassette-recorded dialogue Sammon collected over the years to produce a rather well-organized book for fans of the film to read. I have seen the film countless times, and the new perspectives and ideas gained from this book keep the film fresh and wondrous as the years go by.
Absolutely fascinating.......2002-07-20
There can be no better introduction to Blade Runner.
There is a wealth of material here available nowhere else - from interviews with Philip K Dick to anecdotes about the shooting of the film.
My favourite chapters were the ones dealing with the writing of the screenplay; and the one dealing with the rediscovery and release of the Workprint, and the subsequent Director's Cut. You cannot find this information anywhere else.
Mr Sammon's writing is somewhat overenthusiastic, reading like a fan's website. But the sheer quanitity and interesting nasture of the material makes up for this.
Book Description
The classic study of the most menacing and original genre of American cinema.
A backlist best seller and the definitive take on one of today's reigning screen influences, film noir, this is an essential guide to the extraordinary genre that launched the careers of such luminaries as Burt Lancaster, Billy Wilder, Joan Crawford, Orson Welles, and Stanley Kubrick.
Customer Reviews:
One of the 1st Film Noir Books. Still a Solid Introduction........2005-08-09
First published in 1981, "The Dark Side of the Screen" was among the first books in English on the subject of film noir. Author Foster Hirsch revisits that time before film noir was a fashionable subject in his introduction to this 2001 edition. More than 2 decades after its publication, "The Dark Side of the Screen" is still a solid introduction to film noir history, although it lacks discussion of the neo-noir films that have been made since its publication and has not been influenced by more recent theories. If you are new to classic film noir, this book is not a bad place to start. It is very readable, discusses or mentions over 100 films, and the large format (8.5"x11") allows for over 180 black-and-white photographs. "The Dark Side of the Screen" contains basic information on the film noir movement that you are likely to find in any good introductory text, so it's not intended for those already well-versed in the subject.
In eight chapters, Hirsch follows the film noir movement through its classic period, 1941 to the late 1950s, until its self-conscious revival in the 1970s. "The Dark Side of the Screen" starts out with an overview of typical noir themes and summary of the style's evolution, then takes a step back in time to film noir's sources, obvious and alleged, in American hard-boiled crime literature, German Expressionist art, and Italian Neo-Realist cinema. Hirsch summarizes noir's narrative and visual style before discussing key directors, mainly German émigrés and Americans, and many of the important names among film noir actors, with analysis of the typical film noir acting style. The book concludes with a useful, though occasionally forced, attempt to categorize film noir's basic narrative patterns and central figures and a brief discussion of neo-noir.
Like all historians and theorists, Foster Hirsch has opinions. His assertion that film noir is a "genre" and his presumption that its low-key lighting is "borrowed directly" or "clearly indebted" to German Expressionism become increasingly controversial as time passes. I mention this so that film noir aficionados know where he's coming from and to caution tyros that many ideas about film noir are controversial, so take everything with a grain of salt until you've formed your own opinions. But there is no reason not to start forming them with "The Dark Side of the Screen", which provides a nice overview of the classic film noir movement and lots of good film recommendations.
Dark Side of the Screen is shining light!.......2001-11-06
Hirsch's brilliant analysis of the antecedents, key period and legacy of noir remains perhaps the finest single work on the subject. Not as funny or entertaining as Eddie Muller's 'Dark City', but a major work that pre-dates many inferior later studies. Especially notable is Hirsch's use of stills, his choice of key scenes (e.g. Panic in the Streets, the Phenix City Story, Scarlet Street) skilfully differentiates between studio shot film noirs and pseudo-documentary/location filmed noirs.
Highly recommended for serious lovers of the genre (not room enough here to debate whether film noir is a genre or not!) and ranks, for me, alongside Paul Schrader's legendary 'Notes on Film Noir' essay (1972) as the single most important piece of work on the subject.
The Best Introduction to Film Noir.......2000-06-08
This book is the best of several I have read recently on film noir. It strikes the right balance between being thorough and accessible; not nearly as dry and academic as some others. One of the main elements of noir is its distinctive visual style, and this book has dozens of excellent photographic stills, which enable the reader to understand the style in a way that text descriptions could never duplicate. The author does an excellent job of placing noir in its historical context, without assuming the reader has prior knowledge of German Expressionism, hard-boiled fiction or any other influence. The book ends with a list of 120 or so classic noirs; this alone is worth the price of the book. I have seen approximately one-half of the movies on his list and every single one has been excellent. For anyone interested in gazing into "The Crazy Mirror," this is the place to start.
This book contains an excellent account of noir stylistics.......1998-11-09
I found this book to be a concise and relevant exploration of the history, style and themes of film noir. It was immensely helpful as a research source for an essay I did on noir styles and themes. With clear explanations and pictorial examples it bestowed upon me a clear and precise understanding of the genre.
Book Description
The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated and features essays by such respected film critics and scholars as Robin Wood, J.P. Telotte, R. Barton Palmer, and Robert Porfirio. All have as their purpose to explain why and how these classic films work; the way screenplay, direction, acting, cinematography, editing and all the other filmmaking crafts blended together to produce work that exemplifies both a particular movement in film history and the innovations that keep the noir style fresh and compelling.
Customer Reviews:
Empty Streets and Shadowy Lighting.......2006-11-06
All in all, this is a worthy collection of two dozen or so essays on empty streets, shadowy lighting, calculating women, and doomed men, otherwise known as film noir. Why these cinematic downers keep commanding the scholarly attention they get is itself a matter of curious conjecture. But they do, and there must be a readership as this fourth entry in the publishing cycle demonstrates. I was prepared to pass this one up, figuring everything that needs saying has been said. But then I'm as hooked on the Walter Neffs and Kathie Moffetts of the world as the contributors are; so here I am, 20 bucks or so poorer, but reasonably happy with the deal.
Sure, in the eyes of the beholder some essays are bound to be of lesser interest or quality than others. I myself wonder about the future of the project when it includes such diminishing returns as an essay on the trivia of title sequences, or the `noir-izing' of a technicolor western like Rancho Notorious. However, unlike reviewer Mira, I don't fault the authors for standard high-brow terminology like "capitalist patriarchy" or `misogyny"-- though I do fault the editors (not the authors) for failing to footnote such real esoterica as "diagetic" and "syntagmatic". Come on, Mira, no one picks up the fourth installment of a series like this expecting the prose level of Photoplay. Then too, Mira, just which contributors are guilty of "absurd ideological readings". You need to specify. Worse-- why are these readings "absurd'? That's a pretty strong charge, and you've got a thousand words to back it up. Otherwise, it looks like an ungrounded cheap shot, and who knows, maybe you can convince me in the process.
As two of those presumably ideological essays stand, Hodges's and Humphrey's, respectively, they make a lot of sense to me. Hodges shows how war-time noir differs from post-war noir and how these changes reflect larger national happenings, while Humphries argues that post-war noir eventually fell victim to Cold War needs and what he calls the "liberal consensus". Humphries, in particular, makes provocative and well-reasoned points for anyone with interests beyond what's there on the movie screen. And as far as that goes, I would surmise both writers, with the concerns they have, lean toward the political left ( which I suspect is what really bothers reviewer Mira). But then, the dark side of noir has long attracted those suspicious of a social order where wealth stands as the ordering principle and people lacking that are left to dangle. Anyhow, #4 stands in my book as a worthy addition to the series, and I'll likely fork over another 20 or so if there's a #5.
Some Solid History & Some Silly Dogmatizing........2005-04-05
As Alain Silver explains in the book's Introduction, "Film Noir Reader 4" is different in purpose from the previous Film Noir Readers. It focuses on key films and key themes, rather than attempting to be inclusive or comprehensive. In that spirit, Silver has included a few lists of the most important film noirs according to himself and others in the Introduction. "Film Noir Reader 4" contains 23 mostly modern essays, many apparently not previously published, presented in two parts. The paper the book is printed on is pure white, instead of the off-white of previous volumes, so the black-and-white stills look better.
Part I, "Case Studies", includes 12 essays on key films. The films discussed are: "Double Indemnity", "Detour", "The Big Sleep", "Out of the Past", "The Unsuspected", "Gun Crazy", "D.O.A", "The Big Night", "Kiss Me Deadly", "The Big Heat", "The Big Combo", and "Touch of Evil". Glenn Erickson's enthusiastic and insightful essay "Fate Seeks the Loser: Edgar G. Ulmer's Detour" is particularly interesting. The same can be said for Kevin Hagopian's study of "The Big Sleep" and Stephen B. Armstrong's history of "Touch of Evil". Both films were radically altered by recuts, with the result of making them nonsensical. These carefully researched essays explain what was changed and why.
Part II focuses on "Noir Themes", although I don't think that most of these can reasonably be called "key" themes. Eleven essays discuss a variety of themes that can be found or projected upon classic noir films, including psychodrama, images of women, noir antecedents, horror-noir, war noirs, left-wing politics in noir and crime films, hybrid noir-westerns, and noir title sequences. In other words, Part II is a catch-all. "Cat People", "Rancho Notorious" (in comparison to "The Big Heat"), and "Double Indemnity" are discussed in the most depth.
I'm giving "Film Noir Reader 4" a lower rating than I gave the previous Film Noir Readers, because it is overwhelmed by the sort of absurd ideological readings that I haven't heard this much of since I studied film in college. The reader can't get far without running into dogmatic -and, I might add, eternally ill-defined- terminology like "patriarchal capitalism" and "misogyny". For grown persons to legitimize their socio-economic hang-ups by deliberately misrepresenting 60-year-old movies is pitiful. I am reminded of the reason director Fritz Lang left Germany: The Nazi Party liked his films so much that they offered Lang the opportunity to run the German film industry. His films were anti-fascist. Anyway, there are some good, informative, essays in "Film Noir Reader 4", and it's useful to present different interpretations. But these aren't so different, and I get the impression of scraping the bottom of the barrel.
The Persistence of Film Noir Style.......2005-02-06
This is the fourth reader in a series previously reviewed by me...I never thought the editors could find another 23 articles on "film noir," but they have successfully put together a new book organized in two parts: Case Studies and Noir Themes.
The "Case Studies" section deals with essential film noirs like DOUBLE INDEMNITY, DETOUR, THE UNSUSPECTED & TOUCH OF EVIL. The articles are written by well-respected "noir" critics; but the second section on Noir Themes is far more fascinating, especially the article by Nicolas Saada, "Noir Style in Hollywood."
There are two major errors in the text: (1) in a photo from ASPHALT JUNGLE, it is Marc Lawrence as Cobby in the background, not Anthony Caruso and in OX-BOW INCIDENT, it is Henry Morgan, not Frank who plays Art.
Otherwise, I would certainly include this book in a list of related readings in any noir course that I teach. I have taught NOIR STYLE at Columbia University and CUNY, using my own book, NOIR, NOW & THEN (Greenwood Press, 2001) as the main text and have used all the FILM NOIR READERS in my courses.
I would like to dedicated this review to Charles P. Mitchell who passed away suddenly this past January at the age of 55. He was an excellent noir scholar with a critical acumen and sense of humor that will be missed. His wife still runs their DARKER IMAGES VIDEO business in Millinocket, Maine, tracking down VHS & DVD recordings of the most elusive of noir films.
Ronald Schwartz at noir1937@aol.com
Book Description
Dunne and Raby investigate the real physical and cultural effects of the digital domain, demonstrating that mobile phones, computers and other electronic objects such as televisions profoundly influence people's experience of their environment. Their ideas have important implications for architecture and design. In this, their first major book, they introduce their extraordinary new way of thinking about objects, space and behaviour to a broad audience. The book is divided into three sections: 1. Manifesto, introducing the authors' ideas about electromagnetic space. 2. Conversations, in which Dunne and Raby talk to a variety of designers, architects and artists about the impact electronic technology has on their practice. 3. Placebo, presenting the intriguing results of a project involving Dunne and Raby's working furniture prototypes, including a chair that lets the sitter know when radiation is passing through his body.
Book Description
"A dark night in a city that knows how to keep its secrets. . . . But on the 12th Floor of the Acme Building, one man is still trying to find the answers to life's persistent quetions: Guy Noir, Private eye." This all-new collection of Guy Noir episodes follows the intrepid detective as he solves cases no other gumshoe would touch. A Grammy Award Nominee
Customer Reviews:
Guy Noir Rules!.......2007-03-26
I am a long time listener of A Prairie Home Companion. I always look forward to Saturday evenings at 6, when my local station airs APHC. The show is great and pokes fun at politics, headline news, and just old funnies in a non-threatening way.
Guy Noir is my second favorite part of the show, following Garrison Keillor's "News from Lake Wobegon." Each week the theme song is played and Guy Noir is involved in a wonderful sketch filled to the brim with laughs as he goes and solves mysteries, for he is Private Eye.
hilarious, well written, with excellent sound effects and music.......2007-03-15
This collection of "Guy Noir" routines, lifted from A Praire Home Companion, are very funny. Garrison Keillor and his merry band of actors give a sense of the old time radio drama? with these. The sound effects are excellent and the theme is pretty cool. Both series are great.
Not As Funny As The Original.......2007-01-19
The FIRST Guy Noir release was more faithful to the original conceit of Noir - as a hard-boiled detective talking tough with his clients, his friends and his women.
Here, you get something else: Guy's much more self-conscious. While interacting with PHC guest stars would normally promise some greater variety, it is honestly not too forthcoming. He has become fussy and self-absorbed, and a lot of the great tough talk present in earlier episodes is missing here.
It's a good listen - and I love PHC, too. It's just not as good as the very first release...
GOOD, SMILE-PROVOKING LISTENING.......2006-01-03
What great, good, smile provoking fun! Fans of Garrison Keillor and a Prairie Home Companion will thoroughly enjoy this 11 episode collection of detective stories originally heard in live broadcast.
If you missed these sketches on the radio, not to worry - now you can meet Guy, the intrepid gumshoe who chases crime from St. Paul. Sam Spade and Hercule Poirot would duck their heads in shame to learn of Guy's exploits. After all, he never knows whether the knock on his door means a fish has been filched or Henry Kissinger needs help.
In this parody on the old-time private eyes, we can't resist the guy or Guy who keeps his vigil on "A dark night in a city that knows how to keep its secrets but high above the empty streets, on the 12th floor of the Acme building, one man is still trying to find the answers to life's persistent questions."
Keillor is supported by members of the Prairie Home companion cast, thus "Guy Noir" is a terrific ensemble performance. Among the sketches are
Gotham Gets The Girl
Operator
Bad Grits
Gotta Go
Bad Blood
Picnic Plaid
Movie Shoot
Hotdish Hangover
Renata Flambe
Snow Job
Missing Fish.
Very highly recommended - don't miss it!
- Gail Cooke
The Adventures of Guy Noir - Radio private eye.......2005-10-30
I am a professional truck driver from Quebec and I discovered the wonderful world of Garrison Keillor two years ago while listening to NPR Radio. It took me several months to find out who he was and finally found Prairie Home Companion via the Internet and listened to many of the programs from the archives. Since then I have religiously tuned in to its weekly program with News from Lake Wobegon and Guy Noir, Private Eye. When I bought the CD "The Adventures of Guy Noir" about the famous Private Eye; my wife and children all fell in love with its hilarious stories. I regularly listen to his adventures in my truck while travelling all over Canada and the USA. Guy Noir a.k.a Garrison Keillor, you are the best. I can't wait to get "the rest of the stories."
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- FILM NOIR ENCYCLOPEDIA
- Takes the definition of Film Noir way too far
- the indispensable gets more indispensable
- The Essential Classic Film Noir Reference.
- A Great Reference - and you CAN avoid spoilers...
|
Film Noir: An Encyclopedic Reference to the American Style, Third Edition
Alain Silver
Manufacturer: Overlook TP
ProductGroup: Book
Binding: Paperback
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ASIN: 0879514795 |
Customer Reviews:
FILM NOIR ENCYCLOPEDIA.......2006-11-10
This book is a reference book and not the type of book you just sit down
and read for fun. It is a very comprehensive work on the film noir culture. Just about any information that you will want to know about the film noir classics will be found in this work. Fun to flip through and make a mental note of the format and where to look for your future inquiries.
Takes the definition of Film Noir way too far.......2006-06-12
If I could give this book ZERO stars, I would. I ordered this book, looked inside for about 2 minutes and promptly returned it. It excluded my 2 favorite film noir movies, The Sweet Smell of Success and ...what I deem, next to the Maltese Falcon and Sunset Blvd., as the absolute epitome of film noir....The Third Man. Not even a mention, even though it is #2 on the all time favorite film noir movie list at the IMDB website.
I thumbed through the book for a sec or two and noticed MANY full technicolor movies, some of which, because of the content of the movie, I thought had absolutely no place in a film noir book, technicolor or not. The genre is not as wide open as this author believes it is. C'mon....Dirty Harry? Sorry, but that is NOT a film noir. I did not read the book, but whatever definition of film noir he is using, it CERTAINLY comes nowhere near MY definition of film noir. And according to Wikepedia.org, my definition is correct...color films have no place whatsoever according to the "purist" view. But I'm openminded, you know, it can be in color and it can be made after 1970....I don't have a huge list of criteria. I only asked that it include a few of my favorites, but when it didn't even meet my needs with the very first glance at the index, I pretty much discounted it as hogwash. Yeah, it has loads of obscure gumshoe B movies and if that's what you're interested it, go for it. But if you think all film noir movies should be in black & white and contain the Third Man, et al, pass it by.
the indispensable gets more indispensable.......2005-09-26
This book is the bible of film noir, and the 1992 revisions of the 3rd edition make it even more useful than before. Want to know who plays every bit part in one of your favorite films noirs? The info is here. Want to know when shooting started? When it was released into theaters? Ditto. Want a chronological list of the great noirs? Or more "inside" film lists, organized by directors, stars, even cinematographers? They're here. One of the old criticisms of the previous editions of the book is that its plot summaries were sometimes incorrect in the details. The authors cleaned up some of those problems in this edition, although they decided not to add or change text that would disrupt the original page layout. This means that the new language is a compromise for space, and it doesn't quite live up to the original. And some developments of the past decade, like the discovery of a print of the silent noir "The Racket," are too recent for corrections - the bible still says, "This film is lost today." This not-so-new edition includes a great essay on neo-noir and a fine list of neo-noir films (although I miss the obsessive detail of the original listings). Also, it's paperbound instead of hardbound. But it's still a superb reference work for the film noir fanatic - so treat it well until Silver and Ward get a 4th edition on the stands.
The Essential Classic Film Noir Reference........2004-11-15
This 3rd edition of "Film Noir: An Encyclopedic Reference to the American Style" provides descriptions and analysis for nearly 300 film noirs that were produced from 1927 to 1976, concentrating on the classic period, 1940-1958. The authors are strict in defining film noir as a movement and a style -not a genre- molded specifically by the social, economic, technical, and aesthetic circumstances in post-WWII America, and therefore confined to that era. They exclude genre and foreign films produced in the post-war era that other critics might include. So "Film Noir" is a reference of "pure noir" of the classic period. It may be just as well that it doesn't explore impure noir in much depth, as this book is quite large as it is.
The authors introduce the book by defining the uniquely American classic noir style and discussing some of its common characteristics. The Encyclopedia, itself, is 314 pages long and organized alphabetically by film title. The entry for each of the nearly 300 classic noir films included provides, wherever applicable: the film's title (including working and alternate titles), it's year of release, director, producer, screenwriter(s), director of photography, music director, persons responsible for special effects, sound, score, set decoration, costumes, make-up, the production designer and/or art director, assistant director, and editor. This is followed by a cast list -divided into main and "bit" cast, the date filming was completed, the date the film was released, running time, a plot summary, and a critical analysis by one of the book's 18 contributors. The plot and analysis do often contain spoilers, including endings and surprise twists, which is probably necessary to provide analysis and to define the film as "noir". The plot summaries are useful in refreshing my memory of films seen long ago, but I avoid reading the entire summary or commentary for films I have not yet seen.
"Film Noir" has 5 informative Appendices that explore topics and films not covered in the main section of the book. Appendix A is a lengthy essay explaining the rationale for excluding genre films from the film noir movement. It addresses The Gangster Film, The Western, The Period Film, and The Comedy separately, discussing films that reflect the noir style and what they share and do not share with film noir. Appendix B is a series of lists: A chronology of film noir, listed by year, 1927-1976. Directors listed alphabetically with their films. The same for Writers, Directors of Photography, Composers, Producers, Actors & Actresses, and Releasing Companies, each category with its own list. The criterion for inclusion in the lists is participation in at least 2 film noirs. Appendix C is a survey of "Other Studies in Film Noir". It comments on significant articles and books published on the subject of film noir, from 1955's seminal work by Borde & Chaumeton, "A Panorama of American Film Noir", through 1992, when the latest edition of this book was published. Appendix D discusses "Additional Films from the Classic Period" which were not included in the earlier editions of the book, because they were unavailable or overlooked. Here, 50 films are discussed according to their characteristic noir elements -femme fatale, alienation & despair, maniacs & mayhem, etc. Why these films were simply not included in the Encyclopedia section of this 3rd edition is a mystery to me. Appendix E is a lengthy discussion of Neo-Noir,1966-1992, including a filmography. In the back of the book, you will find a fairly comprehensive Index of films, names, book titles, and most references you might want to locate in "Film Noir".
Film Noir aficionados and students will find "An Encyclopedic Reference to the American Style" endlessly fascinating and useful. The critical analyses are thoughtful. The authors' inclusions, exclusions, and definitions of classic noir are always well-articulated and thought-provoking. A single source that collects the production details for each film is a big time-saver.
A Great Reference - and you CAN avoid spoilers..........2004-09-17
Have others noted, this is both a great reference and a good way to discover these films -- a real gem. One of the reviewers here mentioned that the reviews are so clinical in laying out the plot as to constitute spoilers. I agree, but I would also point out that the reviews are very structured, making it easy to avoid "spoilers."
The first paragraph of each review is the complete plot summary, usually right to the last scene of the film. After the plot summary paragraph, the second and all subsequent paragraphs discuss the non-plot elements of the film, such as the production history, cinematography, etc. Thus you can read a sentence or two of the first paragraph to get the flavor of the story and skip to the second paragraph to learn more about the film without spoiling the typical noir twists and revealing the ending.
The structure of the reviews is so consistent that it has to be by design, and is just one more little touch that makes this an enjoyable, as well as authoritative, read.
Book Description
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 paranoia. For critics and fans alike, these films defined an era.
The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ranging from Camus to the Frankfurt School. The authors, each focusing on a different aspect of the genre, explore the philosophical underpinnings of classic films such as The Big Sleep (1946), Out of the Past (1947), and Pulp Fiction (1994). They show how existentialism and nihilism dominate the genre as they explore profound themes in a vital area of popular culture.
Book Description
Neptune Noir is a collection of essays on the hit drama Veronica Mars, and is not authorized by CW, the creators or producers of Veronica Mars, or any entity associated with the show.
More than just a high school drama, Veronica Mars is a smart and savvy teen detective show that offers complex mysteries and rapier wit, engaging social commentary, and noir sensibilities—with the occasional murder thrown in for good measure. This collection, edited by the creator and executive producer of the show, offers supreme insight into the class struggles and love stories of the series. Essays by top writers intelligently address a multitude of questions, such as Is Veronica a modern-day vigilante? Why is a show that features rape, potential incest, and a teen girl outsmarting local authorities so popular with America’s conservative population? and Why is Veronica and Logan’s relationship the most important story-driving factor in the show?
Customer Reviews:
Like the TV series a rare treat........2007-09-02
Ordinarily when I read an anthology that attempts to make an analysis of a TV series or film, I find at least a couple articles I cannot agree with. However, in Neptune Noir, despite there being different approaches by the authors I found them all superlative. It may also be that my wife and I are suffering from withdrawal pains of there being no Veronica Mars after this Summer's reruns of season three.
I will not comment on individual articles except to say that each author covered verious aspects of this great show, using examples from the scripts of the first two seasons. Even more interesting was the introduction and commentaries by Rob Thomas. As a retired high school teacher myself I had no problems understanding what he was doing.
I have to say that my wife and I are late blooming fans. In fact we met Kristen Bell at a convention, getting her autograph, before we had seen the series. We picked up the first couple episodes of season one at a video store and that was enough to get us to order the first two seasons. Never have we gone through a collection so quickly as we just couldn't ration them out. We now await our order for season three.
I understand there are movements to revive the show or to at least have a movie. TV Guide even rumored that Veronica Mars could show up on 24 as an FBI agent. That wouldn't work as Jack Bauer couldn't keep up with her. Also, Kristen Bell is a superb actress, as witness the Lifetime film Gracie's Choice. By now she probably has had countless offers.
I do hope that we have not heard the last of Rob Thomas and that his genius will again give us something special.
Neptune Noir.......2007-08-01
I ordered this book the day after the last episode, and it's just what I needed for mourning the end of the series.
A good fix for those suffering Mars withdrawl.......2007-07-07
A bit too intellectual at times, but generally a good read about the philosophical implications of various scenes and episodes from Veronica Mars. Focuses largely on the first season, which is great if you enjoyed it. A bit heavy for a summer read, but if you are into philosophy or want to read some deep thinkers' opinions, definitely a worthwhile read. And there is enough "lightweight" content to make it a good read for all.
Awesome.......2007-06-27
Although this book made me cry wishing there was still to be more Veronica to come, it was amusing in itself as it dissected the series.
Well it's About a 17 Year Old Girl Who Happens to Be a Detective.......2007-05-28
In my adult life, I can count on one hand the amount of books I have read. In fact I could have lost a couple in shop class and still be able to count them. (Before you write me off as having an aversion to reading, I do subscribe to two magazines, Newsweek and Rolling Stone.) And those few I read took me literally years to finish. But when I got a copy of Neptune Noir: Unauthorized Investigation into Veronica Mars, I went threw all 212 pages within a week.
The book is a collection of eighteen essays, most seemingly written between the second and third seasons, dissecting every aspect of the show and no matter why it is you watch the show, whether it be for the noir, the girl power, or the Veronica/Logan relationship, there is an essay for you. Well unless you are like me and watch the show for the latest Dickisms as only survivor still left in Neptune only gets fleeting mentions. And oddly a whole essay is devoted to the cars of Veronica Mars and what they tell you about the show and the characters that drive them, but no one devolves fully into Ronnie's love life instead the writers side with Logan or Duncan with Troy and Deputy Leo left as footnotes.
The book starts of with an introduction from the show's creator, Rob Thomas, which even at seven pages makes the book worth the price of admission as he recounts his professional life between moving out to Los Angeles up to the point of Veronica Mars getting picked up. Most interesting of this part was the pilot he wrote for Fox in-between Cupid and Veronica Mars, but of course since Fox is allergic to quality programming, they passed.
Thomas then also gives an introduction to each essay sometime discounting the essay in its entirety like the one about the cars (Full disclosure: I'm not a car guy) and seemed a little uneasy that someone devoted a whole essay about the campy side of the show (When something on Veronica Mars feels, campy, it means we have failed). The title of the review came from what Thomas said when the network asked what the show was about, but as anyone who has watched the show, it is much more as seen in the essays complied for the book. It would take too long to review each individual but here were the most interesting to me.
Chris McCubbin devoted his essay, The Duck and the Detective, on why Veronica Mars plays better in Red States than Blue. This piece stuck me as a resident of a Red State and life long Republican (well up until my brethren elected the most inept president ever, twice). My television schedule has never been influenced by my political beliefs, I even loved the unapologetically liberal Studio 60 on the Sunset Strip, yet it still fascinated me especially after when a few liberals were up in arms because of the abortion pill episode. McCubbin liked to bring up the South Park republicans, but the big difference between South Park and Veronica Mars is that that Matt Stone has said, "I hate conservatives, but I really (expletive deleted) hate liberals" while Thomas readily admits, "he is "part of the Hollywood Loberal Media Elite."
The other essay that caught my eye was the one from John Ramos, Couch Baron of Television Without Pity, I Cannot Tell a Lie. And if You Believe That... Ramos dissects the level of lies, from the white lies that help her solve a case to the big fat ones that have major consequences like when she played her father while helping Duncan get out of the country with his baby in tow. Add to that The New Normal by Kristen Kiddler where she looks into Vee's vigilantism and it interesting to see people complain in season three that Ronnie has gotten so mean. The first season was all about making people pay, the person who killed Lily, the person who raped her and anyone who was an accomplice, even if inadvertent will be in her crosshairs. She still to this day harbors deep hatred for Madison Sinclair for handing her the drink that led to her rape.
Even though there is plenty of great essays for every type of Veronica Mars fan, there will be certainly a few that will not be as good as others depending on what brings you to the show. For me I could do without the essays on the cars as well as the one devoted to the "epic" love. But this is definitely a must read for anyone who has watched the show.
Average customer rating:
|
Sunshine & Noir
Mike Davis ,
Mike Kelley , and
David Hockney
Manufacturer: Louisiana Museum of Modern Art
ProductGroup: Book
Binding: Hardcover
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ASIN: 8790029194
Release Date: 1998-03-02 |
Book Description
Artistic production in L.A., while certainly influenced by the international currents which have defined New York, has always retained a distinct affinity. Sunshine & Noir takes an indepth look at the art and the artists that define art in L.A.
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- Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands
- Different Brains, Different Learners: How to Reach the Hard to Reach
- Drawing from the Modern (3 Volumes)
- Ed Ruscha: Then & Now
- Edward Hopper: A Catalogue Raisonne
- Electronic Circuits Volume 1.0
- Exploring Publication Design (Design Exploration Series)
- Expressive!
- Extreme Design
- Fancy Nancy and the Posh Puppy (Fancy Nancy)
Books Index
Books Home
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Film Noir: An Encyclopedic Reference to the American Style, Third Edition
Its A Bitter Little World: The Smartest Toughest Nastiest Quotes From Film Noir
Film Noir Classic Collection, Vol. 4 (Act of Violence / Mystery Street / Crime Wave / Decoy / Illegal / The Big Steal / They Live By Night / Side Street / Where Danger Lives / Tension)
