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Informationen zum Autor Andrew Spicer is Reader in Cultural History at the University of the West of England, UK. His principal research interests lie in film and cultural history, including genre, stardom and constructions of masculinity, British cinema, and the role of producers and screenwriters in film-making. He has published widely on all these topics, including Typical Men (2003) and Sydney Box (2006), and three volumes on film noir: Film Noir (2002), European Film Noir (2007), and the Historical Dictionary of Film Noir (2010). He is currently co-editing a volume about film producers, and writing a study of Sean Connery.Helen Hanson is a Senior Lecturer in Film Studies at the University of Exeter, UK. Her research interests cover adaptation, gender and genre, film history, film style and technology, with a particular focus on the history of Hollywood. She has written articles and chapters on these topics, and has authored Hollywood Heroines: Film Noir and the Female Gothic Film (2007) and co-edited The Femme Fatale: Images, Histories, Contexts (2010). She also has a forthcoming book on the evolution of sound technology, sound craft and film style in Hollywood cinema from 1931-1950. Klappentext An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels.* Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences* Features chapters exploring the wider 'noir mediascape' of television, graphic novels and radio* Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas* Includes contributions from both established and emerging scholars Zusammenfassung An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels. Inhaltsverzeichnis List of Illustrations viiiNotes on Contributors xAcknowledgments xviiiForeword xixJames NaremoreIntroduction: The Problem of Film Noir 1Andrew SpicerPart I Conceptualizing Film Noir 151 The Strange Case of Film Noir 17Robert Porfirio2 Genre, Hybridity, Heterogeneity: or, the Noir-SF-Vampire-Zombie-Splatter-Romance-Comedy-Action-Thriller Problem 33Mark Bould3 A Wet Emptiness: The Phenomenology of Film Noir 50Henrik Gustafsson4 Cinephilia and Film Noir 67Corey K. CreekmurPart II Hidden, Hybrid, and Transmedia Histories and Influences 775 Precursors to Film Noir 79Wheeler Winston Dixon6 Crisscrossed? Film Noir and the Politics of Mobility and Exchange 94Alastair Phillips7 Film Noir and Horror 111Peter Hutchings8 Borderings: The Film Noir Semi-Documentary 125R. Barton Palmer9 Crime Fiction and Film Noir 142William Marling10 Film Noir, American Painting and Photography: Questions of Influence 158Tom RyallPart III Social, Industrial, and Commercial Contexts 17511 The Politics of Film Noir 177Brian Neve12 The Black Typewriter: Who Wrote Film Noir? 193David Wilt13 Film Noir and Studio Production Practices 211Geoff Mayer14 Film Noir and Post-Studio Production Practices 229John Berra15 Selling Noir: Stars, Gender, and Genre in Film Noir Posters and Publicity 245Mary Beth HaralovichPart IV The Fabric of Film Noir: Style and Performance 26516 Out of the Shadows: Noir Lighting and Hollywood Cinematography 267Patrick Keating17 The Ambience of Film Noir: Soundscapes, Design, and Mood 284Helen Hanson18 In a Lonely Tone: Music in Film Noir 302David Butler19 Acting and Performance in Film Noir 318Donna PeberdyPart V Id...