|
" Film noir, American workers, and postwar Hollywood / "
Dennis Broe ; foreword by Richard Greenwald and Timothy Minchin
| Document Type
|
:
|
BL
|
| Record Number
|
:
|
636017
|
| Doc. No
|
:
|
dltt
|
| Main Entry
|
:
|
Broe, Dennis
|
| Title & Author
|
:
|
Film noir, American workers, and postwar Hollywood /\ Dennis Broe ; foreword by Richard Greenwald and Timothy Minchin
|
| Publication Statement
|
:
|
Gainesville :: University Press of Florida,, ©2009
|
| Series Statement
|
:
|
Working in the Americas
|
| Page. NO
|
:
|
xxxv, 178 pages :: illustrations ;; 24 cm
|
| ISBN
|
:
|
9780813033228
|
|
|
:
|
: 0813033225
|
|
|
:
|
: 9780813035499
|
|
|
:
|
: 081303549X
|
| Bibliographies/Indexes
|
:
|
Includes bibliographical references (pages 157-169) and index
|
| Contents
|
:
|
Let a thousand fetish objects bloom -- The Home-front detective as dissident lawman (and -woman): Hammett, Chandler, Woolrich, and 1940s Hollywood -- Noir part 1: socialism in one genre: wildcat strikers, fugitive outsiders, and a savage lament -- Noir part 2: fugitive kinds -- The McCarthyite crime film: the time of the (quasi-scientific) toad (criminal/informer/vigilante cops versus psychotic fugitives) -- The neo-noirers: fugitives, surrealists, and the return of the degenerate detective -- Crime films of each film noir period
|
| Abstract
|
:
|
"Ever since French critics began using the term film noir in the mid-1940s, a clear definition of the genre has remained elusive. Though sometimes defined visually, there is more to film noir than meets the eye. This interdisciplinary examination argues for the central importance of class in the creation of film noir and demonstrates how the form itself came to fruition during one of the most active periods of working-class agitation and middle-class antagonism in American history." "After World War II, the crime film centered around the movement of its protagonist outside the law. This movement was congruent with postwar labor movements that were forced to use extralegal means because of the increasing pressure applied by new legislation such as the Taft-Hartley Act, which declared strikes to be illegal. At the same time, many unionists were driven out of the industries they helped to organize by the House Un-American Activities Committee. It is during this period that noir became a lament, with protagonists moving further outside the law to seek justice and with these struggles written on their battered corpses at the end of the film." "Expanding this investigation into Cold War and post-9/11 America, Broe extends his analysis of the ways film noir is intimately connected to labor history. The constructed nature of the cold war and its lurch toward conservatism points to the war on terrorism and the struggles within and between global capital, class, race, and gender."--Jacket
|
| Subject
|
:
|
Film noir-- United States-- History and criticism
|
| Subject
|
:
|
Crime films-- United States-- History and criticism
|
| Subject
|
:
|
Working class in motion pictures
|
| Dewey Classification
|
:
|
791.43/6556
|
| LC Classification
|
:
|
PN1995.9.F54B76 2009
|
| Added Entry
|
:
|
Greenwald, Richard A.
|
|
|
:
|
Minchin, Timothy J.
|
| |