Marianne,
Re your question below:
> > And to make it clear, at the risk of
repeating
> myself,
> > I'm not saying that every crime film since
1962,
> even
> > the ones self-consciously using noir
visual
> > sytlistics, has been bad. Or even that
they're
> not as
> > good as "classic noir." All I'm saying is
that
> > they're not really film noir.
>
> Some of us who are less knowledgeable, and
therefore
> tagging along
> breathlessly here, may be getting confused
by
> detail.
>
> Does this mean that "really film noir" is to
be
> defined quite simply
> as ANY* black and white film shot WITH*
heavy
> contrast IN* the USA
> BETWEEN* 1941 and 1962 (I presume you're
talking
> Maltese Falcon to
> Cape Fear?) - and that's all there is to
really
> film noir?
Make it any B&W crime (suspense, mystery, detective, call
it what you will) film, and maybe be a bit less specific on
the years (I always like a bit of wiggle room), and that's
pretty much it.
> Well, I could certainly design a course
called
> "Film 302" using
> those criteria, but I'd expect my captive
audience
> to give me an
> argument about it.
Academics always like to make simple things more complicated
than they are.
JIM DOHERTY
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