Film noir reflects the fatalistic themes and visual style of
hard-boiled novelists and many ?migr? filmmakers in 1940s and 1950s
America, emphasizing crime, alienation, and moral ambiguity. In The
Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue
that the legacy of film noir classics such as The Maltese Falcon,
Kiss Me Deadly, and The Big Sleep is also found in episodic
television from the mid-1950s to the present. In this
first-of-its-kind collection, contributors from philosophy, film
studies, and literature raise fundamental questions about the human
predicament, giving this unique volume its moral resonance and
demonstrating why television noir deserves our attention. The
introduction traces the development of TV noir and provides an
overview and evaluation of the book's thirteen essays, each of
which discusses an exemplary TV noir series. Realism, relativism,
and integrity are discussed in essays on Dragnet, Naked City, The
Fugitive, and Secret Agent. Existentialist themes of authenticity,
nihilism, and the search for life's meaning are addressed in essays
on Miami Vice, The Sopranos, Carnivale, and 24. The methods of
crime scene investigation in The X-Files and CSI are examined,
followed by an exploration of autonomy, selfhood, and
interpretation in The Prisoner, Twin Peaks, The X-Files, and
Millennium. With this focus on the philosophical dimensions of
crime, espionage, and science fiction series, The Philosophy of TV
Noir draws out the full implications of film noir and establishes
TV noir as an art form in its own right.
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