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Sto caricando le informazioni... Film Noir: 100 All-Time Favorites (edizione 2014)di Paul Duncan (A cura di), Jürgen Müller (A cura di)
Informazioni sull'operaFilm Noir: 100 All-Time Favorites di Paul Duncan (Editor)
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Enter a world populated by private eyes, gangsters, psychopaths, and femmes fatales, where deception, lust, and betrayal run rampant. The first film-by-film photography book on film noir and neo-noir, this essential collection begins with the early genre influencers of German and French silent film, journeys through such seminal works such as Double Indemnity, The Postman Always Rings Twice, and Vertigo, and arrives at the present day via Chinatown, Pulp Fiction, Heat, and the recent cult favorite Drive. Entries include posters, tons of rare stills, cast/crew details, quotes from the films and from critics, and analyses of the films. Film director, film noir scholar, and Taxi Driver screenwriter Paul Schrader provides the introduction to this feast of noir worship. Populated by the genre's most revered directors, like Hitchcock, Wilder, Welles, Polanski, Mann, and Scorsese, the book also pays homage to its iconic faces, including Mitchum, Bogart, Hayworth, Bergman, Grant, Bacall, Crawford, Nicholson, Pacino, and so many more. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessunoCopertine popolari
 Google Books — Sto caricando le informazioni...GeneriSistema Decimale Melvil (DDC)791.436556The arts Recreational and performing arts Public performances Film, Radio, and Television Film Special aspects of films, fim adaptations, film genres Films dealing with humanity Social themes Social problems and servicesClassificazione LCVotoMedia: (4.5)
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Being a fan of film noirs, be they American or French, classical period or neo-noir, I had to get this from my local library. It's an extremely heavy, oversized tome printed on thick, glossy paper. I don't think it was a good idea to go with black pages with white text, however. The black page shows any hint of oil from one's fingers, marring the looks.
There are three well-written essays to start things off, one by the filmmaker Paul Schrader. He points out that noir is not a genre, but a style. I get that, but to me there are certain thematic elements that also make up noir. Then the book does anywhere from 4 to 8 pages on each of the 100 selected films. The text is written by several different writers who provide insight into the elements that make that film special. But the main attraction here are the well-selected stills taken from the films themselves.
Perhaps my opinion is rather parochial, but some of these films I don't consider noir, or even noirish. For instance, Psycho. It's a great film, but it's not noir; it's a horror film, and one of the best. I would have picked some different neo-noir films, such as Night Moves. But all in all, this is a fantastic book; one of the best graphical coffee table books imaginable on the subject. (