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Hollywood's Dark Cinema: The American Film Noir (Twayne's Filmmakers) [Paperback]

R. Barton Palmer (Author)

5.0 out of 5 stars See all reviews (1 customer review) |

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Product Details

Paperback: 206 pages
Publisher: Twayne Publishers (February 1994)
Language: English
ISBN-10: 0805793356
ISBN-13: 978-0805793352
Product Dimensions: 8.3 x 5.3 x 0.8 inches
Shipping Weight: 7 ounces

Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)

Amazon Best Sellers Rank: #1,633,069 in Books (See Top 100 in Books)

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10 of 14 people found the following review helpful:

5.0 out of 5 stars For the serious film studies student, July 28, 1996

By A Customer

This review is from: Hollywood's Dark Cinema: The American Film Noir (Twayne's Filmmakers) (Paperback)

As one of Dr. Palmer's students at Georgia State University, I found him to be an excellent professor, one who is proficient not only in film but also in literature and classical studies. His insights to this very-American genre is, at least, obtainable and useful. His instruction, as well as his writing, is readable and his insights are easily applied to the study of nott only film noir, but any other discipline of film studies. By breaking down a few select examples from the film noir genre (Murder, My Sweet, Taxi Driver, Double Indemnity, Vertigo, etc.) he traces several key characteristics of the typical film noir, like issues of character, plot, theme, sexuality, and feminism. To be frank, I do not have to book in front of me so I can not quickly review it fully and wholly, complete with specific quoted passages to back up my recommendation. It is an affordable book so please trust me. This is an indispensable book for the film noir student

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Inside This Book (learn more)

First Sentence:
During its classic period in the 1930s, 1940s, and 1950s, the Hollywood cinema developed a stable but flexible system of genres, including detective films, musicals, westerns, and costume epics among others. Read the first page

Key Phrases - Capitalized Phrases (CAPs): (learn more)
Criss Cross, The Pitfall, Film Stills Archive, Museum of Modern Art, The Maltese Falcon, Production Code, New York, San Francisco, Point Blank, Los Angeles, Robert Siodmak, Hollywood Renaissance, Kiss Me Deadly, Philip Marlowe, United States, Walter Neff, John Huston, Mike Hammer, Miss Foster, Ride the Pink Horse, Billy Wilder, Dick Powell, Edward Dmytryk, French New Wave, George Reynolds

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Citations (learn more)

This book cites 44 books:

Double Indemnity by James M. Cain on 6 pages
Taxi Driver (Faber Film) by Paul Schrader on 4 pages
Farewell, My Lovely by Raymond Chandler on page 74, page 83, and Back Matter
The Maltese Falcon by Dashiell Hammett on page 36, page 37, and page 73
Film Noir by Alain Silver on page 26, Back Matter (1), and Back Matter (2)

See all 44 books this book cites

10 books cite this book:

Crime Films (Genres in American Cinema) by Thomas Leitch on 5 pages
The Cinema Book by Pam Cook on page 189, and Back Matter
More than Night: Film Noir in Its Contexts by James Naremore in Back Matter (1), and Back Matter (2)
The Cambridge Companion to Shakespeare on Film (Cambridge Companions to Literature) by Russell Jackson on page 76, and page 81
The Film Studies Dictionary (Arnold Student Reference) by Barry Keith Grant in Back Matter

See all 10 books citing this book

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More than Night by James Naremore

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