This collection presents new essays in the complex field of French literary adaptation. Using a variety of textual and interpretive approaches, it sheds light on issues of gender, sexuality, class, politics and social conventions while acknowledging a range of contexts, from the commercial to the archival and the aesthetic. The chapters, written by eminent international scholars, run chronologically from The Count of Monte Cristo through Proust and Bonjour, Tristesse to Philippe Djian's Oh... (adapted for the screen as Elle). Collectively, they fill a need for contemporary discussions on the significance of France's literary representations in the history of global cinema. -- .

Costa-Gavras is a seminal figure in French and international cinema. A master of the political thriller, he explores historical events through individual human stories, thereby involving his audience in past and contemporary traumas, from the horrors of the Holocaust through mid-century international state terrorism and totalitarianism to the current global financial crisis. With a career spanning half a century, he remains one of cinema's most intriguing and enduring storytellers, theorists and political commentators. This collection of original essays charts and re-examines Costa-Gavras's career from Un homme de trop (1967) to Le capital (2012). Readable and carefully researched, it will appeal to students and scholars of film, as well as fans of the director's work. -- .

This book explores the development of film noir as a cultural and artistic phenomenon. This book traces the development of what we know as film noir from the proto-noir elements of Feuillade's silent French crime series and German Expressionism to the genre's mid-20th century popularization and influence on contemporary global media. By employing experimental lighting effects, oblique camera angles, distorted compositions, and shifting points-of-view, film noir's style both creates and comments upon a morally adumbrated world, where the alienating effects of the uncanny, the fetishistic, and the surreal dominate. What drew original audiences to film noir is an immediate recognition of this modern social and psychological reality. Much of the appeal of film noir concerns its commentary on social anxieties, its cynical view of political and capitalist corruption, and its all-too-brutal depictions of American modernity. This book examines the changing, often volatile shifts in representations of masculinity and femininity, as well as the genre's complex relationship with Afro-American culture, observable through noir's musical and sonic experiments. Concluding with extensive bibliographies, filmographies, recommended noir film viewing, and a reflective chapter by Alain Silver and James Ursini on their own influential studies and collections on film noir criticism, this book offers students and scholars of Film Studies a scholarly, cultural and aesthetic history of the genre. It traces the history of film noir from its aesthetic antecedents through its mid-century popularization to its influence on contemporary global media. It discusses the influence of literary and artistic sources on the development of film noir. It includes guides to further reading and recommended viewing.

ReFocus: The Literary Films of Richard Brooks highlights the accomplishments of one of postwar America's most important and successful directors, with an emphasis on the "literary" aspects of his career, including his work as a screenwriter and adaptor of such modern classics as Cat on a Hot Tin Roof, Lord Jim, and The Brothers Karamazov.

This book traces the development of what we know as film noir from the proto-noir elements of Feuillade's silent French crime series and German Expressionism to the genre's mid-twentieth century popularization and influence on contemporary global media.

Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book explores the influence of noir on international cinematic traditions and challenges prevailing film scholarship. It includes extensive bibliography and filmographies for recommended reading and viewing.

From the mid-1940s to the late 1980s American film studios enjoyed commercial success in a range of often overlooked genres, employing a new realism to depict social class structures, capitalist desires and the expansion of the marketplace, and to turn American cultural values comically and subversively against themselves. With case studies of the Cold War comedy, the 'rogue cop' film, the brainwashing thriller and the urban romances that defined the 'new woman', Cold War Film Genres explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.

Examines how Cold War films depicted pertinent issues of American social class and genderFrom the mid-1940s to the late 1980s American film studios enjoyed commercial success in a range of often overlooked genres, employing a new realism to depict social class structures, capitalist desires and the expansion of the marketplace, and to turn American cultural values comically and subversively against themselves. With case studies of the Cold War comedy, the 'rogue cop' film, the brainwashing thriller and the urban romances that defined the 'new woman', 'Cold War Film Genres' explores these myriad productions, redefining American cinematic history with a more inclusive view of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.Key FeaturesProvides studies of emerging film genres and cycles in the Cold War periodExamines how new genres recast gender and class conditions in terms of defining urban and suburban AmericaReveals new directions and successful strategies in Cold War studio production Charts new developments in film narratives that define American social concerns Refocuses critical attention upon the diverse politics of American film culture

This book examines the influence of film noir on visual narrative and technique in global cinematic traditions. Following World War II, film noir became the dominant cinematic expression of Cold War angst, influencing new trends in European and Asian filmmaking. International Noir examines film noir's influence on the cinematic traditions of Britain, France, Scandinavia, Japan, Hong Kong, Korea, and India. This book suggests that the film noir style continues to appeal on such a global scale because no other cinematic form has merged style and genre to effect a vision of the disturbing consequences of modernity. International noir has, however, adapted and adopted noir themes and aesthetic elements so that national cinemas can boast an independent and indigenous expression of the genre. Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book also calls into question critical assessments of noir in international cinemas. In short, it challenges prevailing film scholarship to renegotiate the concept of noir. Ending with an examination of Hollywood's neo-noir recontextualization of the genre, and post-noir's reinvigorating critique of this aesthetic, International Noir offers Film Studies scholars an in-depth commentary on this influential global cinematic art form, further offering extensive bibliography and filmographies for recommended reading and viewing. It examines noir's influence on film narrative and technique in several different national cinemas. It covers British, French and Japanese noir as well as the influence of noir on Scandivavian, Chinese and Korean cinema. It includes chapters on neo-noir and post-noir films.