The argument of Noir Fiction and Film is curiously
counterintuitive: that in a century of hard-boiled fiction and
detective films, characteristics that at first seemed trivial
swelled in importance, flourishing into crucial aspects of the
genre. Among these are aimless descriptions of people and places
irrelevant to plot, along with detectives consisting of little more
than sparkling dialogue and flippant attitudes. What weaves
together such features, however, seems to be a paradox: that a
genre rooted in solving a mystery, structured around the gathering
of clues, must do so by misdirecting our attention, even
withholding information we think we need to generate the suspense
we also desire. Yet successful noir stories and films enhance that
suspense through passing diversions (descriptive details and
eccentric perspectives) rather than depending on the center pieces
of plot alone (suspected motives or incriminating traces). As the
greatest practitioners of the genre have realized, the "how" of
detective fiction (its stylistic detours) draws us in more
insistently than the "what" or the "who" (its linear advance). And
the achievement of recent film noir is to make that "how" become
the tantalizing object of our entire attention, shorn of any
pretense of reading for the plot, immersing us in the diversionary
delight that has animated the genre from the beginning.
General
| Imprint: |
Oxford UniversityPress
|
| Country of origin: |
United Kingdom |
| Release date: |
November 2021 |
| Authors: |
Lee Clark Mitchell
|
| Dimensions: |
240 x 165 x 22mm (L x W x T) |
| Format: |
Hardcover
|
| Pages: |
256 |
| ISBN-13: |
978-0-19-284476-7 |
| Categories: |
Books >
Arts & Architecture >
General
Promotions
|
| LSN: |
0-19-284476-8 |
| Barcode: |
9780192844767 |
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