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Film noir, one of the most intriguing yet difficult to define terms in cinema history, is usually associated with a series of darkly seductive Hollywood thrillers from the 1940s and 50s — shadowy, black-and-white pictures about private eyes, femme fatales, outlaw lovers, criminal heists,corrupt police, and doomed or endangered outsiders. But, film noir actually predates the 1940s and has never been confined to Hollywood. International in scope, its various manifestations have spread across generic categories, attracted the interest of the world’s great directors, and continue toappear even today. In this Very

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Book ID Asin: 0198791747
Book Title: Film Noir: A Very Short Introduction (Very Short Introductions)
Book Author: James Naremore
Book Format and Price:
Book Price: unknown
Book Category: Books, New, Used & Rental Textbooks, Humanities and unknown
Book Rating: 55 ratings

Film Noir: A Very Short Introduction (Very Short Introductions) by James Naremore Book Review

Name: Dr. P
Rating: 5.0 out of 5 stars
Title: Naremoreisyourexpert
Date: Reviewed in the United States on August 10, 2019
Review: Anything by James Naremore is worth reading. He is well-versed in film and critical history. His longer book on noir called MORE THAN NIGHT is the more important text on the topic. Still, his writing is smart and thought provoking. This book plays a little fast and loose with the parameters of noir (perhaps intentionally), just as often using a neo-noir as a classic noir for an example. Still, everyone would do well to read this introduction to the concept of film noir. The book also contains a brief bibliography and a few black and white stills. Worth the time and money.

Name: Tom
Rating: 5.0 out of 5 stars
Title: NotsurewhatnoirisbutIllknowitwhenIseeit
Date: Reviewed in the United States on September 10, 2020
Review: “Noir-ness” includes many subjects. The author effectively showed how little I know about several of them. The book suggests what a reader might need to evaluate films and reactions to them.

Name: Patrick K
Rating: 4.0 out of 5 stars
Title: Goodoverviewofnoirasculturalforce
Date: Reviewed in the United States on July 27, 2019
Review: A solid overview of several aspects of noir. Avoids any all-inclusive definitions of noir and shows why such definitions are impossible. Readers will profit from discussions of early French theorists of noir (after all, they coined it, right?), noir’s literary antecedents and noir as cinematicmodernism.I suggest following up with Paul Duncan’s slim but extremely helpful listing of hundreds of noirs, out of print but available used online.

Name: Sean Forrest
Rating: 5.0 out of 5 stars
Title: Livesuptoitssubtitleinthebestpossibleways
Date: Reviewed in the United States on December 3, 2021
Review: James Naremore provides a concise and thorough genre analysis, with illuminating insights and perspectives. A must-read for film students and anyone interested in Film Noir.

Name: Boiselyn
Rating: 2.0 out of 5 stars
Title: Notsoveryshort
Date: Reviewed in the United States on September 22, 2019
Review: Short….? Small book with SMALL print!

Name: Amazon Customer
Rating: 5.0 out of 5 stars
Title: Ilikedit
Date: Reviewed in the United States on July 22, 2019
Review: It was educational.

Name: Sandy Flitterman-Lewis
Rating: 5.0 out of 5 stars
Title: Excellentshortsummary
Date: Reviewed in the United States on June 25, 2019
Review: Excellent short summary.

Name: Doctor Moss
Rating: 4.0 out of 5 stars
Title: WorkedAVeryGoodAppetizer
Date: Reviewed in the United States on March 25, 2021
Review: If the idea is to see if you have an appetite for more, then this definitely worked for me. Luckily, Naremore has a longer book on the same subject (More than Night: Film Noir in Its Contexts).Although this is a “very short” book (108 pages), Naremore goes pretty broad spectrum. He starts off with a discussion the definition of “film noir.” I think it makes noir more interesting that it is difficult to define, somehow appropriate to what it is, and that followers argue about what movies fall into or out of the category. Some films — The Maltese Falcon, Double Indemnity, Out of the Past, Gun Crazy, . . . — are paradigm examples. And those suggest common elements — black and white cinematography, toughness, down and out or doomed characters, cityscapes, . . . .But what about films made after the 40s and 50s, even made in color (e.g., Chinatown)? What about recent movies like LA Confidential or Reservoir Dogs? What about movies like Pulp Fiction or Sin City that ride the edge of parody? What about science fiction, like Blade Runner? What about non-American films, like Rififi or M?Some of those seem obviously noir, and some not so much, but it’s hard to say why in a way that will hold generally. Naremore points to the sub-genres like neo-noir or sci fi noir, etc. as ways to decide without deciding. Maybe we don’t need to decide.Naremore gives some great history, the landmark films, the context of World War II (and then McCarthyism and the Cold War), and how exactly a French term like “film noir” became associated with Hollywood films (that in turn borrowed from German expressioni).Part of the history is censorship, under the Production Code Administration. The strictures of the code had their own influence on how the movies were crafted, e.g., the “between the lines” treatments of homosexuality and sex in general or the questionable and often compromised moral that “crime doesn’t pay.” The history of Hollywood production codes is worth a book in itself (luckily again, there’s a good one on life before the code and the effect that the code had subsequently, Forbidden Hollywood, by Mark Vieira).Naremore also does a great job of relating noir film and noir literature, with discussions of Hammet, Cain, Chandler, Highsmith, Greene, and more. Some of those discussions are going to send me to the bookstore for some great reading.And the book wraps up with a discussion of noir’s “afterlife,” where it becomes a matter of history and comment as much as active genre. Actually, the chapter preceding that last one warms up the topic with discussions of films in which noir becomes something to allude to in “pastiche” (e.g., Body Heat or Miller’s Crossing) or to parody in “pasticcio” (e.g., Pulp Fiction or Dead Men Don’t Wear Plaid).All in all, it’s an appetizer. Lots of great references to movies that you may have seen but want to see again, maybe with added context from Naremore’s discussions. And I especially liked the references and discussions re noir literature — the classics as well as some things that are a little off the beaten path (I’m going to hunt down the 1950s comic book series, Crime Suspensestories that Naremore mentions). There’s a helpful chapter-by-chapter list of references and recommendations at the back of the book.