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Film Noir, American Workers, and Postwar Hollywood (Working in the Americas) Paperback – April 1, 2010

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Editorial Reviews

Book Description

"With keen insight and a deep appreciation of the politics of film noir, Broe has broken new ground in the interpretation of cinema itself. With this book film noir has found its most astute and informed critic."--Gerald Horne, author of The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten
"Reminds the reader that class, while often submerged, was important to postwar American society and culture. The classic noir films of the period provided a vivid commentary on class in America."--Richard Greenwald, Drew University
Film noir, which flourished in 1940s and 50s, reflected the struggles and sentiments of postwar America. Dennis Broe contends that the genre, with its emphasis on dark subject matter, paralleled the class conflict in labor and union movements that dominated the period.
By following the evolution of film noir during the years following World War II, Broe illustrates how the noir figure represents labor as a whole. In the 1940s, both radicalized union members and protagonists of noir films were hunted and pursued by the law. Later, as labor unions achieve broad acceptance and respectability, the central noir figure shifts from fugitive criminal to law-abiding cop.
Expanding his investigation into the Cold War and post-9/11 America, Broe extends his analysis of the ways film noir is intimately connected to labor history. A brilliant, interdisciplinary examination, this is a work that will appeal to a broad spectrum of readers.
--This text refers to an out of print or unavailable edition of this title.

About the Author

Dennis Broe is associate professor of film at Long Island University.

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More About the Author

My primary field is Film and Television Studies. My degree is a Ph.D. from NYU's Department of Cinema Studies where my Ph.D. was granted "With Distinction." I have written a book on film noir, Film Noir, American Workers and Postwar Hollywood which had been well reviewed and is regarded as an important work in the field. Palgrave Macmillan recently published my second book, Class Crime and International Film Noir: Globalizing America's Dark Art.
In 2015 I published a book on painting and politics titled: "Cold War Expressionism: Perverting the Politics of Perception/Bombast, Blacklists and Blockades in the Postwar Art World."
Fall 2015 will see the publication of a book on Television in the 1950s titled: Maverick or How the West was Lost. The book is part of the TV Milestones series from Wayne State University Press.
I am currently working on a book on contemporary television titled "The end of leisure and the birth of the binge: Hyperindustrialism and Television Seriality.
> My areas of research are Genre Studies, Political Economy of Media, and Film and History.
> I also teach production courses in Screenwriting and was a Sit-Com writer in Hollywood.
> I have written a host of articles for publications such as Cinema Journal, Film and History, Jump cut and Framework. I am also a film critic on Pacifica's Arts Express Radio, syndicated around the country and I will be covering the Cannes and Venice Film Festivals this summer for this show. I am also a television critic and you can follow my "Bro on the World Film Beat" on Arts Express Radio on the Pacifica Radio Network and as part of the James Agee Cinema Circle.
> I am a full professor at Long Island University where I have been teaching for 15 years. I was the Graduate Coordinator in Media Arts and ran the Master's Program, which averaged about 50 students, for seven years.
> I have been teaching at the graduate level at the university now for over 10 years. I teach Media Theory, Corporate Stucture of Media, Film History, Television Genres and Genre courses in Melodrama, Television Sit-Com, Mystery/Thriller/Suspense and Horror.
> I will be moving to Europe in the summer of 2015 and am seeking full or part time employment at a university on the continent and if possible within commuting distance of Paris.

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Film Noir, American Workers, and Postwar Hollywood (Working in the Americas)
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