Sign up to save your library
With an OverDrive account, you can save your favorite libraries for at-a-glance information about availability. Find out more about OverDrive accounts.
Share
Find this title in Libby, the library reading app by OverDrive.
Search for a digital library with this title
Title found at these libraries:
| Loading... |
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle.
But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, and investigate topics as disparate as Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration shows the impact of race and gender, history and sexuality, technology and transnationality on the genre.
As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike.
Contributors: Krin Gabbard, Philippa Gates, Julie Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.| Cover Title Contents Acknowledgments Preface: Noir Futures: "It's a Bright Guilty World" Introduction: Back to Black: "Crime Melodrama," Docu-Melo-Noir, and the "Red Menace" Film 1. Independence Unpunished: The Female Detective in Classic Film Noir Philippa Gates 2. Women and Film Noir: Pulp Fiction and the Woman's Picture Julie Grossman 3. The Vanishing Love Song in Film Noir Krin Gabbard 4. Radio, Film Noir, and the Aesthetics of Auditory Spectale Neil Verma 5. Disney Noir: "Just Drawn That Way" J. P. Telotte 6. Detour: Driving in a Back Projection, or Forestalled by Film Noir Vivian Sobchack 7. Producing Noir: Wald, Scott, Hellinger Andrew Spicer 8. Refuge England: Blacklisted American Directors and '50s British Noir 9. A Little Larceny: Labor, Leisure, and Loyalty in the '50s Noir Heist Film 10. Periodizing Classic Noir: From Stranger on the Third Floor to the "Thrillers of Tomorrow" Robe Classic Noir on the Net Critical Literature on Film Noir Contributors Index | Nominee for Edgar® Award, Best Critical/Biographical category, 2015. A Choice Outstanding Academic Title, 2015. — Edgar® Award, Mystery Writers of America
Nominee for Edgar® Award, Best Critical/Biographical category, 2015. A Choice Outstanding Academic Title, 2015. — A Choice Outstanding Academic Title, 2015.
|Robert Miklitsch is a professor in the Department of English Language and Literature at Ohio University. He is the author of Siren City: Sound and Source Music in American Film Noir.
But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, and investigate topics as disparate as Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration shows the impact of race and gender, history and sexuality, technology and transnationality on the genre.
As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike.
Contributors: Krin Gabbard, Philippa Gates, Julie Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.| Cover Title Contents Acknowledgments Preface: Noir Futures: "It's a Bright Guilty World" Introduction: Back to Black: "Crime Melodrama," Docu-Melo-Noir, and the "Red Menace" Film 1. Independence Unpunished: The Female Detective in Classic Film Noir Philippa Gates 2. Women and Film Noir: Pulp Fiction and the Woman's Picture Julie Grossman 3. The Vanishing Love Song in Film Noir Krin Gabbard 4. Radio, Film Noir, and the Aesthetics of Auditory Spectale Neil Verma 5. Disney Noir: "Just Drawn That Way" J. P. Telotte 6. Detour: Driving in a Back Projection, or Forestalled by Film Noir Vivian Sobchack 7. Producing Noir: Wald, Scott, Hellinger Andrew Spicer 8. Refuge England: Blacklisted American Directors and '50s British Noir 9. A Little Larceny: Labor, Leisure, and Loyalty in the '50s Noir Heist Film 10. Periodizing Classic Noir: From Stranger on the Third Floor to the "Thrillers of Tomorrow" Robe Classic Noir on the Net Critical Literature on Film Noir Contributors Index | Nominee for Edgar® Award, Best Critical/Biographical category, 2015. A Choice Outstanding Academic Title, 2015. — Edgar® Award, Mystery Writers of America
Nominee for Edgar® Award, Best Critical/Biographical category, 2015. A Choice Outstanding Academic Title, 2015. — A Choice Outstanding Academic Title, 2015.
|Robert Miklitsch is a professor in the Department of English Language and Literature at Ohio University. He is the author of Siren City: Sound and Source Music in American Film Noir.
Share
