3. The Melodramatics of Crime: Film Noir in the Twilight of Martial Law

2020 ◽  
pp. 74-107
Keyword(s):  
Film Noir ◽  
Martial Law ◽  
Crime Film

Samuel Khachikian and the Crime Thriller in Iran

2021 ◽  
pp. 1-27
Author(s):  
Kaveh Askari
Keyword(s):  
Film Noir ◽  
Modern Design ◽  
Global Circulation ◽  
Crime Films ◽  
Crime Film ◽  
The World ◽  
Mixed Feelings ◽  
Made In

Abstract Samuel Khachikian was the most successful director of crime films in Iran during the genre’s heyday in the late 1950s and early 60s. Debates among critics about his films highlight how the crime film was able to thrive as a prestige form in the years before boundaries had solidified between commercial films and intellectual films made in Iran. Film noir, from its earliest transatlantic imaginings to its recent global circuits, has consistently engaged with an imagined elsewhere through its modernist style. In many parts of the world, it allowed a kind of performance of exuberant cinephilia while also attracting attention about its originality. In Tehran, as elsewhere, the genre accompanies the global circulation of modern design with strong, but mixed, feelings.

The Crimson Kimono

2017 ◽  
Author(s):  
Robert Miklitsch
Keyword(s):  
Asian American ◽  
Racial Difference ◽  
Film Noir ◽  
Black Film ◽  
Black And White ◽  
Crime Film ◽  
Interracial Romance ◽  
History Of ◽  
Police Detective ◽  
American Police

Samuel Fuller’s Crimson Kimono (1959) is, like Odds against Tomorrow (1959), a paradigmatic late ‘50s American noir. Part policier, part melodrama, part “art” film, part “B” or exploitation picture, The Crimson Kimono deploys the sort of self-reflexive devices associated with Douglas Sirk’s ‘50s melodramas in order to “estrange” or “alienate” the dark crime film. For example, by portraying an interracial romance and commenting on the cliché of Oriental inscrutability, The Crimson Kimono foregrounds the black-and-white moral calculus of melodrama even as italicizes the racial difference, not to say racism, that has been a part, however occluded, of the history of “black film.” Equally importantly, by refiguring the film’s Asian-American police detective as the “hero” of the narrative who solves the case and “gets the girl,” Fuller’s film refashions one of the constitutive tropes of the genre, the “Shanghai gesture,” a trope that can itself be traced back to The Maltese Falcon (1941) and the origins of classic American film noir.

I Died a Million Times

2020 ◽  
Author(s):  
Robert Miklitsch
Keyword(s):  
Outer Space ◽  
The United States ◽  
Film Noir ◽  
Black And White ◽  
Crime Film ◽  
Left Handed ◽  
Human Endeavor ◽  
Rearview Mirror ◽  
The 1950S ◽  
Private Eye

The Age of Affluence. Ike and Mamie. The Man in the Gray Flannel Suit. In the United States, the 1950s have been memorialized as the Pax Americana. A similar stereotypical view has characterized the 1950s crime film. While the big-shot gangster dominated the headlines in the 1930s and the private eye graced the 1940s, both the gangster picture and film noir were declared DOA in the 1950s. There is, of course, another, less than perfect picture of the ’50s in which the tropes associated with the decade are rather darker. Commies. Aliens from outer space. The bomb. I Died a Million Times argues that the crime film is alive and well in the 1950s in the generic guise of gangster noir. The corpus delicti is a trio of subgenres that crystallized in the period and that correlates with the above symptomatic events: the syndicate picture, the rogue cop film, and the heist movie. These subgenres and the issues associated with them--the “combo” as capitalism incarnate, the letter of the law versus the lure of vigilantism, and the heist as a “left-handed form of human endeavor”--may appear black and white in the rearview mirror of history, but from another perspective, one that’s attentive to issues such as race (The Phenix City Story), class (The Prowler), gender (The Big Heat), sexuality (The Big Combo), the nation (The Asphalt Jungle), and the border (Touch of Evil), these signal, not-so-generic films are as vibrant and colorful as the decade itself.

scholarly journals Monte criollo y Palermo. Cruce entre películas de gangsters, film noir y el imaginario del criollismo tanguero.

2016 ◽  
Vol 13 (13) ◽  
pp. 251
Author(s):  
Román Pablo Setton
Keyword(s):  
Film Noir ◽  
Crime Film ◽  
Cultura Popular

El siguiente trabajo analiza las películas Monte criollo (1935) y Palermo (1937), de Arturo S. Mom como dos ejemplos de las primeras aproximaciones del cine argentino al género policial o crime film. En ese sentido, discutimos los modos en que estas películas trabajan, por un lado, con motivos del cine negro y de las películas de gangsters, es decir, los modelos del cine clásico hollywoodense y, por otro, cómo fusionan estas tradiciones con elementos propios de la cultura popular argentina contemporánea, los imaginarios del tango y del criollismo. A partir de esa fusión, algunos elementos que la tradición había colocado en el ámbito de la villanía son resignificados, tal como sucede con el dominio de la voz –que la tradición del gótico y del policial identificaban con el mal– que ahora, a partir de la heroicidad local del cantor de tangos, es ennoblecido. En este sentido, mostramos también de qué modo un crimen local concreto, el secuestro y asesinato de Eugenio Pereyra Iraola, modifica en el cine la representación de los criminales. A su vez, discutimos de qué modo estas películas reelaboran los arquetipos femeninos y masculinos de la época y proponen nuevos modelos de identidades genéricas.

Media Representation of the Pandemic: a Metaphorical Image of War (based on American Newspapers)

2020 ◽  
Vol 1 (8) ◽  
pp. 69-83
Author(s):  
N. S. Dankova ◽  
E. V. Krekhtunova
Keyword(s):  
Critical Discourse Analysis ◽  
Media Coverage ◽  
Critical Discourse ◽  
Media Representation ◽  
Martial Law ◽  
War Zone ◽  
Mass Consciousness ◽  
The Media ◽  
Coronavirus Infection ◽  
Theoretical Foundations

The article is devoted to the study of the media representation features of the situation of coronavirus infection spread. The material was articles published in American newspapers. It is shown that the metaphorical model "War" is widely used in media coverage of the pandemic. The relevance of the work is due to the ability of the media to influence the mass consciousness. The methodological basis of the research is formed by critical discourse analysis, which establishes the connection between language and social reality. The article provides an overview of works devoted to the study of metaphor. The theoretical foundations for the study of metaphorical modeling are given. In the course of the analysis, the linguistic means of updating the metaphorical model "War" were revealed. The authors note that this metaphorical model is represented by such frames as “War and its characteristics”, “Participants in military action”, “War zone”, “Enemy actions”, “Confronting the enemy”. It is shown that modern reality is presented in the media as martial law, the coronavirus is positioned in the media as a cruel and merciless enemy seeking to take over the world, the treatment of the disease is represented as a fight against the enemy. It is concluded that the use of the metaphorical model "War" is one of the ways to conceptualize the spread of coronavirus.

The 13th of December 1981 in the political history of Poland: view through 35 years

2017 ◽  
pp. 369-378
Author(s):  
Vladislav Strutynsky
Keyword(s):  
Soviet Union ◽  
Trade Union ◽  
Political Conflict ◽  
Grassroots Organizations ◽  
Martial Law ◽  
The Soviet Union ◽  
Polish Society ◽  
History Of ◽  
National Salvation ◽  
The Republic

By analyzing one of the most eventful periods of the modern history of Poland, the early 80s of the XX century, the author examines the dynamics of social and political conflict on the eve of the introduction of martial law, which determines the location of the leading political forces in these events in Poland, that were grouped around the Polish United Labor Party and the Independent trade union «Solidarity», their governing structures and grassroots organizations, highlighting the development of socio-political situation in the country before entering the martial law on the 13th of December and analyzing the relation of the leading countries to the events, especially the Soviet Union. Also, the author distinguishes causes that prevent to reach the compromise in the process of realization different programs, that were offered to public and designed by PUWP and «Solidarity» and were “aimed” to help Polish society to exit an unprecedented conflict. This article provides a comparative analysis of the different analytical meaningful reasons, offered by historians, political scientists, lawyers, and led to the imposition of martial law in the Republic of Poland. The author also analyses the legality of such actions by the state and some conclusions that were reached by scientists, investigating the internal dynamics of the conflict and the process of implementation of tasks, that Polish United Workers’ Party (which ruled at that time) tried to solve with martial law and «Solidarity» was used as self-determination in Polish society. Keywords: Martial law, Independent trade union «Solidarity», inter-factory strike committee, social-political conflict, Polish United Workers’ Party, the Warsaw Pact, the Military Council of National Salvation

The Ecologies of Film Noir

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Film Noir ◽  
American Film ◽  
Consumer Capitalism ◽  
Human Happiness ◽  
Rental Property ◽  
The Individual ◽  
Artificial World

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.”

Entertainment publics in the Philippines

2021 ◽  
pp. 1329878X2098596
Author(s):  
Anna Cristina Pertierra
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Digital Technologies ◽  
The Philippines ◽  
Political Capital ◽  
Martial Law ◽  
Entertainment Media ◽  
Digital Era ◽  
The Media ◽  
Entertainment Television

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.

Sign in / Sign up

Export Citation Format

Share Document