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The Rise of Film Noir: Double Indemnity

GENE D. PHILLIPS

in Some Like It Wilder: The Life and Controversial Films of Billy Wilder

Published in print:
2009
Published Online:
September 2011
ISBN:
9780813125701
eISBN:
9780813135403
Item type:
chapter
Publisher:
University Press of Kentucky
DOI:
10.5810/kentucky/9780813125701.003.0004
Subject:
Film, Television and Radio, Film

In his book on film noir, William Hare repeats the story that one day Billy Wilder could not find his secretary. He was told by one of the women in the office that she was holed up in the ladies' ... More


America as Wasteland in Detour: Film Noir and the Frankfurt School

Paul A. Cantor

in The Invisible Hand in Popular Culture: Liberty vs. Authority in American Film and TV

Published in print:
2012
Published Online:
May 2013
ISBN:
9780813140827
eISBN:
9780813141299
Item type:
chapter
Publisher:
University Press of Kentucky
DOI:
10.5810/kentucky/9780813140827.003.0009
Subject:
Society and Culture, Media Studies

Chapter Eight analyzes Edgar Ulmer's classic film noir Detour and its bleak portrait of America as a land of frustrated desires and lost dreams. It explores the affinities between Detour and the ... More


Deep Black and White

Ray Zone

in 3-D Revolution: The History of Modern Stereoscopic Cinema

Published in print:
2012
Published Online:
January 2013
ISBN:
9780813136110
eISBN:
9780813141183
Item type:
chapter
Publisher:
University Press of Kentucky
DOI:
10.5810/kentucky/9780813136110.003.0005
Subject:
Film, Television and Radio, Film

Three 3D films noir of 1953 are reviewed and described with Man in the Dark, Glass Web and I, the Jury.


Everyone Loves Her/His Illusions: The Purple Rose of Cairo and Shadows and Fog

Peter J. Bailey

in The Reluctant Film Art of Woody Allen

Published in print:
2016
Published Online:
September 2016
ISBN:
9780813167190
eISBN:
9780813167862
Item type:
chapter
Publisher:
University Press of Kentucky
DOI:
10.5810/kentucky/9780813167190.003.0011
Subject:
Film, Television and Radio, Film

These films are considered together in this chapter not only because they are two of Allen’s greatest cinematic accomplishments, but because they share so many elements in common—including their very ... More


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