Le Film noir français face aux bouleversements de la France d'après-guerre, 1946–1960

Postwar American film noir explores an artificial world that does not foster human happiness and growth, but leads to a kind of human incapacity to act and respond. Beyond merely depicting these negative environments, noir lays bare the attachments to bad living and unsustainable striving that underwrite the accumulating culture of the Anthropocene at midcentury. Positioning itself as the genre that critiques postwar peaceful prosperity, noir gives us the characters, places, and scripts for human expiration as the counter to both nuclear survivalism and consumer capitalism. The hospitality of film noir is rental property. Indeed, impermanent dwelling of the individual and humanity as a whole is one of noir’s lessons for the Anthropocene. American noir is an ecological genre that teaches us in the spirit of Roy Scranton’s book how “to die in the Anthropocene.”

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Chapter 4. A Regional Geography of Film Noir

Noir Urbanisms ◽

10.1515/9781400836628.75 ◽

2010 ◽

pp. 75-103 ◽

Cited By ~ 1

Keyword(s):

Film Noir ◽

Regional Geography

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Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir

German Studies Review ◽

10.2307/1433182 ◽

2001 ◽

Vol 24 (1) ◽

pp. 188

Author(s):

David Caldwell ◽

Jans B. Wager

Keyword(s):

Film Noir

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Creatures of Darkness: Raymond Chandler, Detective Fiction, and Film Noir

Rocky Mountain Review of Language and Literature ◽

10.2307/1348174 ◽

2001 ◽

Vol 55 (1) ◽

pp. 131

Author(s):

A. Mary Murphy ◽

Gene D. Phillips

Keyword(s):

Detective Fiction ◽

Film Noir ◽

Raymond Chandler

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Doing Text

10.3828/liverpool/9781911325031.001.0001 ◽

2017 ◽

Author(s):

Pete Bennett ◽

Julian McDougall

Keyword(s):

Social Media ◽

New Media ◽

Film Noir ◽

Social Practices ◽

Critical Space ◽

Learning And Teaching ◽

Broadcast Media ◽

Romantic Poetry ◽

Art Works ◽

Media Formats

This volume re-imagines the study of English and media in a way that decentralises the text (e.g. romantic poetry or film noir) or media formats/platforms (e.g. broadcast media/new media). Instead, the authors work across boundaries in meaningful thematic contexts that reflect the ways in which people engage with reading, watching, making, and listening in their textual lives. In so doing, the volume recasts both subjects as combined in a more reflexive, critical space for the study of our everyday social and cultural interactions. Across the chapters, the authors present applicable learning and teaching strategies that weave together art works, films, social practices, creativity, 'viral' media, theater, TV, social media, videogames, and literature. The culmination of this range of strategies is a reclaimed 'blue skies' approach to progressive textual education, free from constraining shackles of outdated ideas about textual categories and value that have hitherto alienated generations of students and both English and media from themselves.

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