Chapter 4. Film Noir and the Hidden Violence of Transportation in Los Angeles

2007 ◽  
pp. 93-118
Keyword(s):  
Los Angeles ◽  
Film Noir

Film Noir and Automotive Isolation in Los Angeles

2005 ◽  
Vol 5 (1) ◽  
pp. 103-125
Author(s):  
Paul Mason Fotsch
Keyword(s):  
Los Angeles ◽  
Film Noir

The dark city and film noir: Los Angeles

2008 ◽  
pp. 56-70
Keyword(s):  
Los Angeles ◽  
Film Noir

The dark city and film noir: Los Angeles

2019 ◽  
pp. 39-59
Author(s):  
Barbara Mennel
Keyword(s):  
Los Angeles ◽  
Film Noir

William Blake’s Jerusalem and the Los Angeles of Film Noir

2014 ◽  
Vol 38 (1) ◽  
pp. 223-241
Author(s):  
Harold Henry Hellwig
Keyword(s):  
Los Angeles ◽  
Film Noir

1909–1913

2021 ◽  
pp. 58-110
Author(s):  
Andrew A. Erish
Keyword(s):  
Los Angeles ◽  
Motion Picture ◽  
Film Noir ◽  
Depth Profiles ◽  
Foreign Earnings ◽  
Net Profit ◽  
The World ◽  
The Creation

Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".

Film Noir and Los Angeles

2020 ◽  
Author(s):  
Sean W. Maher
Keyword(s):  
Los Angeles ◽  
Film Noir

“You befouled your own nest!”

2020 ◽  
pp. 136-168
Author(s):  
Justin Gautreau
Keyword(s):  
Los Angeles ◽  
Film Noir ◽  
Film Adaptations ◽  
System P ◽  
Studio System ◽  
The Relationship ◽  
Sunset Boulevard

This chapter argues that the relationship between the Hollywood novel and films about Hollywood underwent a reversal of sorts beginning in the late 1940s and early 1950s. It begins by examining how Los Angeles film noir of the 1940s set the stage for mainstream films to take direct aim at Hollywood. By 1950, the release of In a Lonely Place and Sunset Boulevard demonstrated Hollywood’s capacity to befoul its own nest as a handful of screenwriters, directors, and stars responded directly and critically to the industry’s rusting machinery. If film adaptations of Hollywood novels in the 1920s and 1930s had largely defanged the novels’ treatment of the industry, studio films around this time developed their own bite, especially amid the gradual collapse of the studio system.

The Dark Side of the Dream: The Image of Los Angeles in Film Noir

1987 ◽  
Vol 69 (4) ◽  
pp. 329-348 ◽  
Author(s):  
Tina Olsin Lent
Keyword(s):  
Los Angeles ◽  
Film Noir ◽  
Dark Side

Cinematic Tone in Polanski’s Chinatown

2019 ◽  
pp. 115-129
Author(s):  
Robert Pippin
Keyword(s):  
United States ◽  
Los Angeles ◽  
The United States ◽  
Film Noir ◽  
Way Of Life ◽  
Nineteen Thirties ◽  
Nineteen Seventies ◽  
Right Action ◽  
New Hollywood

Chinatown, a landmark of the New Hollywood, successfully recreates and revises the classic film noir milieu. Setting the film in the Los Angeles of the late nineteen-thirties, the aptness of such a setting for the United States of the nineteen-seventies is intentionally suggested. But the film’s creation of such a noir tonality is so successful that it raises the question of whether the unambiguous and profound evil present in the film suggests a world gone wrong—so wrong that no “right” action in such a world is conceivable. This chapter will examine what it would mean to suggest the wrongness of an entire way of life, what is responsible for such wrongness, and what it suggests about the possibility (or impossibility) of any right action in such a world.

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