Liminal Noir in Classical World Cinema
Liminal Noir in Classical World Cinema
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Abstract
While few can deny its incalculable influence on popular filmmaking during and after World War II, film noir has been and remains one of the most contentious categories of cinema, involving more debates than consensus about what constitutes a noir. This collection explores the amorphous parameters of this dark cinematic phenomenon by utilising an expanded, nuanced definition of film noir, which reaches beyond traditional conceptions of genre, style, and cycle to examine its complex international origins and emphasis on issues of liminality. Through illuminating case studies of single films from nations including Argentina, the former Czechoslovakia, France, Great Britain, Japan, Poland, Spain, and the US, the authors consider elements of genre hybridity, border crossing, boundary breaching, and other signifiers of liminality to reassess classical-era films that defy conventional generic and stylistic categorisation.
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Front Matter
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Introduction: Liminality and the Boundaries of Film Noir
Elyce Rae Helford andChristopher Weedman
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Part I Exposing Cultural Anxieties
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1.
The Despair of the Noir Generation: Wajda’s Ashes and Diamonds
Alan Woolfolk
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2.
The Fleap Being Neither Flea nor Fly: Ida Lupino’s Interrogations of Female Trauma in Never Fear
Julie Grossman
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3.
Running Aimlessly: Camino Cortado and Autarkic Spain
Fernando Gabriel Pagnoni Berns
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4.
Race and the Noir Western: Navigating The Walking Hills
Elyce Rae Helford
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1.
The Despair of the Noir Generation: Wajda’s Ashes and Diamonds
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Part II Reconceptualising National Cinemas
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5.
My Mama Done Tol’ Me’: Jewish Émigré Noir, Hybridity, and Black-Jewish Relations in Blues in the Night
Vincent Brook
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6.
Expressionism, Existentialism, and Socialism in Scars of the Past
Milan Hain
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7.
The Deadly Seduction of a Rake: British Costume Melodrama, Noir, and the ‘Othered’ Woman in The Gypsy and the Gentleman
Christopher Weedman
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8.
Argentine Gothic-Noir Fusion in The Black Vampire
Osvaldo Di Paolo Harrison andNadina Olmedo
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5.
My Mama Done Tol’ Me’: Jewish Émigré Noir, Hybridity, and Black-Jewish Relations in Blues in the Night
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Part III Aesthetics and Antecedents
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End Matter
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