Del i serien Thinking Cinema

Dark Interval

Film Noir, Iconography, and Affect

Inbunden, Engelska, 2022

AvPadraic Killeen,David Martin-Jones

1 779 kr

Beställningsvara. Skickas inom 10-15 vardagar. Fri frakt för medlemmar vid köp för minst 249 kr.

Finns i fler format (1)

Häftad

569 kr

Skickas inom 10-15 vardagar

Invoking key concepts from the philosophical writings of Gilles Deleuze and Giorgio Agamben, The Dark Interval examines a subtle but distinct iconography of passivity, stillness and profound self-affection that recurs across noir films of every era. In doing so, it identifies the emergence of a specific cinematic figure – the ‘intervallic’ noir protagonist exposed to the redemptive force of his or her own passion. Significantly, the book contextualises the iconography of film noir in relation to prior art-historical visual traditions, in particular earlier representations of melancholia and the saturnine, locating noir against a much broader canvas than has been the norm. Examining central noir films of the classic and modern era (The Killers, The Man Who Wasn’t There) as well as films at the peripheries of noir (from Jacques Tourneur’s Cat People to Wong Kar Wai’s 2046), the book locates a series of iconographic gestures, performance traditions and affective tonalities at once specific to noir and yet resonant with a deeper cultural and philosophical heritage. It is a meditation that uniquely grapples with the look and the feel of noir, and which dares to detect a unique quality of ‘beatitude’ that runs through a certain strain of noir films. In doing so, it illuminates why film noir remains one of the most provocative and affecting visual milieus of our time.

Produktinformation

Utgivningsdatum2022-06-02
Mått152 x 229 x 22 mm
Vikt550 g
FormatInbunden
SpråkEngelska
SerieThinking Cinema
Antal sidor280
FörlagBloomsbury Publishing Plc
ISBN9781501349683

Tillhör följande kategorier

Film inom Kultur
Filosofi inom Filosofi och religion

Padraic Killeen is a media scholar and arts journalist. He holds a doctorate in film from Trinity College Dublin, Ireland, where he has taught on Film Noir, European Cinema, and Digital Film. He has also lectured in Film and Digital Cultures at NUI Galway, Ireland. He is a keen video essayist and digital humanist; his video essays on film have appeared in [in]Transition and Frames Cinema Journal. His research interests include iconography, intertextuality, and adaptation.

AcknowledgmentsList of FiguresIntroductionThe Interval as a Philosophical Concept (Prelude) 1. The ‘Dark Interval’ in Noir: From Iconography to Affect 2. The Passion of Ed Crane: Narrative Dissolution, Zero Affect, and Beatitude in The Man Who Wasn’t There 3. Vesperal Noir: Intervallic Suspension in Cat People 4. Saving Those Who Weep: The Interval of Affective Rupture in Alphaville 5. 2046: Orphic Lingering in the Dark Interval (Or, What Becomes of Lemmy’s Cigarettes) 6. Outside The Law: The Long Goodbye, Temporal Lapse, and Force-of-Law 7. Missing Persons and Deadbeats: Abiding in the Dark Interval 8. Coda: Passion at the Impasse – Noir in TransitBibliographyIndex

Film noir, Padraic Killeen argues, is a cinema of missing persons. It is around this condition of missingness, gleaned from intervallic moments of inertia and irruption, passivity and passion, arrest and absorption, that this perceptive and philosophically probing study gracefully pivots. Through an eclectic and innovative montage of theories and films that effortlessly transcends the discursive constraints of genre, period and style, The Dark Interval presents a fresh and conceptually rich prism that brings out a paradoxically redemptive light from the shades of noir.