Film noir evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s-melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.
List of Illustrations Preface to the 2008 edition Acknowledgments Introduction: This Is Where I Came In 1. The History of an Idea Noir Is Born: Paris, 1946-1959 Darkness Everywhere 2. Modernism and Blood Melodrama: Three Case Studies Believing in Nothing Sympathy for the Devil The Death Chamber 3. From Dark Films to Black Lists: Censorship and Politics Bourbon with a Bourbon Chaser The Snakes Are Loose After 1947 4. Low Is High: Budgets and Critical Discrimination B Pictures versus Intermediates Post-B Pictures 5. Old Is New: Styles of Noir Black and White and Red Parody, Pastiche, Fashion 6. The Other Side of the Street Asia Latin America Africa 7. The Noir Mediascape 8. Noir in the Twenty-first Century Legends and Lists Further Research More Styles of Noir Noir Never Dies Notes Bibliography Index
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