This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic "Double Indemnity" and concluding with Jim McBride's "Breathless." In-depth analysis of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. The most significant films since 1944 are reviewed and reveal the ever-changing values in American society. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art.

This work will appeal to film scholars and to fans of film noir. Filmogrpahies and video information follow each chapter. Appendices briefly explain the roots of many noir films discussed in the text along with their subsequent remakes.

An introduction to contemporary Latin American narrative published in the 1970s, presenting ten major writers. Each chapter covers the biography, career of the author and one important novel in depth while attempting to summarize major critical opinions about the development of Latin American narrative. The authors presented are Cabrera Infante, Carpentier, Cortazar, Donoso, Fuentes, Gardia Marquez, Lezama Lima, Puig, Sarduy, and Vargas Llosa.

According to many critics, the era of "Film Noir" ended with the 1958 release of Orson Welles' classic Touch of Evil. The style was not dead, but rather had been transformed, and two years later, Alfred Hitchcock ushered in a new era of "Noir" films with the release of his 1960 masterpiece, Psycho. Film scholar Ronald Schwartz examines the most significant representatives of this cinematic style, beginning with Hitchcock's shocker and concluding with Michael Mann's Collateral (2004). Schwartz provides in-depth analyses of over thirty of the best "Neo-Noir" films and explains the qualities and characteristics of the "new noir" style. He also explains how it differs from "Film Noir" of the forties and fifties. As this study reveals, the new style significantly impacted American film after 1960. In this chronological guide, Schwartz examines such landmark films as The Manchurian Candidate (1962), Point Blank (1967), The French Connection (1971), Chinatown (1974), Taxi Driver (1976), Body Heat (1981), Blood Simple (1984), Fatal Attraction (1987), The Grifters (1990), Reservoir Dogs (1992), The Usual Suspects (1995), L.A. Confidential (1997), Memento (2000), and Mystic River (2003). The book also includes an alphabetical filmography, listing over 650 films that in plot, style, or subject matter reflect the diversity of the genre. This reference work will be a valuable resource for film scholars and fans alike who wish to further explore the ever-evolving aspects of "Neo-Noir" cinema.

In 1931 Antonio Moreno completed Santa, Mexico's first true sound film. In it he established one of the foremost genres of Latin American cinema?the popular melodrama?which continues to this day. Latin American filmmakers came to the fore in the fifties and sixties and, as 1992's Como agua para chocolate (Like Water for Chocolate) showed, Latin American films continue to be a major part of the international film scene. In this work over 300 of the most significant films from Argentina, Brazil, Cuba, Mexico, Bolivia, Colombia, Ecuador, Peru and other Latin American countries are covered. Each entry includes the English title, director, year of release, running time, language, country and a detailed plot synopsis. Notes about the production and the filmmakers are also provided for many entries.

Film noir is a particularly American stylistic phenomenon (although named by French film critics) that permeated nearly every major, minor and independent Hollywood studio production from 1940 through the early 1960s. The author examines his personal choice of the best noir film represented by each studio and includes each studio's history and formation, a meticulous plot outline, an examination of the careers of the star roster for each studio, as well as each producer, director, screenwriter, camera man, composer, art and set directors, a critique of each film as well as a series of stills that represent the noir style. The book also includes, in shorter form, a chapter on the independent productions and the second choices of ""best"" film noirs of major and minor studios, film noirs that did not make the first cut.