"Detours and Lost Highways begins with the Orson Welles film, Touch of Evil (1958), which featured Welles both behind and in front of the camera. That movie is often cited as the end of the line, noir's rococo tombstone...the film after which noir could no longer be made, or at least could no longer be made in the same way... It is my belief, Hirsch writes, that neo-noir does exist and that noir is entitled to full generic status. Over the past forty years, since noir's often-claimed expiration, it has flourished under various labels. Among the movies he discusses as evidence: Chinatown (1974), Body Heat (1981), John Woo's Hong Kong blood-ballets (e.g., The Killer, 1989) and the pulpy oeuvre of Quentin Tarantino." -Washington Post Book World
Foster Hirsch's Dark Side of the Screen is by far the most thorough and entertaining study of the themes, visual motifs, character types, actors, directors, and films in this genre ever published.
With the addition of a new introduction and chapter covering the eleven movies Allen has made in the last decade, from Alice to The Curse of the Jade Scorpion, this is a vital book for Allen fans and students of film alike.
The Philosophy of the Coen Brothers investigates philosophical themes in the works of these master filmmakers and also uses their movies as vehicles to explore fundamental concepts of philosophy.
Details about William Klein's dismissal are drawn from John Shubert's interview with Howard Teichmann, April 11, 1960. 9596. 9798. 99100. 101. Alvin Klipstein, interview with the author, April 14, 1991. Garson Kanin, interview with the ...
The story that Isenberg tells, rich in historical and critical insight, replicates the briskness of a B-movie.
In short, I was able to feel what Sarah felt as she wrote the book. There were several situations Sarah shared that I could relate to and and I think the story of Lost and Found is universally relatable.
The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers.
William Deverell, Whitewashed Adobe: The Rise ofLos Angeles and the Remaking ofIts Mexican Past (Berkeley: University of California Press, 2004), 53. D. l. Waldie, “How Do We Make Our Home Here?” Los Angeles Times, Aug. 8, 2010, A31. 2.
" Based on firsthand observations and numerous interviews, Hirsch's examination of the Studio's origins reveals how its graduates forever shaped the American stage and screen.
He is the author of such books as Lugosi ( 1997 ) , White Zombie : Anatomy of a Horror Film ( 2002 ) , and ( with Alex Webb ) Alma Rubens , Silent Snowbird ( 2006 ) . He is also the writer - director of such films as Fiddlin ' Man ...