Very well said Kevin, most noir heroes may have a well
developped Œclass conciousness¹ but to define all noir as
Œworking class tragedy¹ is missing the mark and I would add
that to put it the Œtragedy¹ section is also missing the
mark...some of them have tragic endings but tragedies they
are not; the phenomenon of Œdistance¹ is much too present in
the writing or the directing/editing, both in the weave of
the stories themselves (heroes Œoff¹ commentary...etc...) or
in the Œauthor¹s¹ hand (second degree)....
Montois
On 10/20/05 8:15 PM, "Kevin Burton Smith" <
kvnsmith@thrillingdetective.com> wrote:
>
> On Sep 24, 2005, at 1:15 AM, Dave the Z
wrote:
>
>> > I'd have to say "working-class tragedy"
doesn't make a hell of a lot
>> > of sense as a definition for noir. I also
don't see the connection for
>> > film noir either - how does that definition
fit film noir classics
>> > like Body Heat, Angel Heart, Chinatown,
Double Indemnity, Blade
>> > Runner, Godfather 2?
>
> I'd have to agree. While a great many noirs (both
film and novel) are
> set in the working class, it's not a major factor or
a defining
> definition. These people are screwed and doomed
whether the spoon in
> their yaps when they were born was silver or
take-out plastic.
[Non-text portions of this message have been removed]
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