فيلم سوداوي
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Two silhouetted figures in The Big Combo (1955). The film's cinematographer was John Alton, the creator of many of film noir's stylized images.
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| سنوات النشاط | early 1940s – late 1950s |
|---|---|
| البلد | United States |
| التأثر |
German Expressionism, French Poetic Realism, Italian Neorealism, American Hardboiled Fiction, Art déco (scenography) |
| التأثير | French New Wave |
فيلم نوار (بالفرنسية: Film noir) هومصطلح سينمائي يُستخدم للتعبير عن أفلام الجريمة والدراما الهوليودية، خصوصاً تلك التي ترتكز بمحتواها على التصرفات المفعمة بالتهكم والتشاؤم والدوافع الجنسية. وتمتد حقبة أفلام النوار الكلاسيكية الهوليودية من بداية أربعينات القرن العشرين حتى أواخر الخمسينات. وقد لازمها في تلك الفترة تحديداً أسلوب بصري قائم على التصوير القاتم بالأبيض والأسود، حيث يعود بجذوره إلى التصوير السينمائي الخاص بالموجة التعبيرية الألمانية. ويُلاحظ حتى الكثير من قصص أفلام النوار الأولى وسلوكياتها استمدت روحها من مدرسة قصص الجريمة المعروفة باسم hardboiled “قصص بوليسية تمزج بين العنف والجريمة والجنس بأسلوب قاسي وجاد” وعهدت هذه القصص نور الشمس في الولايات المتحدة خلال فترة الكساد الاقتصادي.
لورا (1944) يعد من أشهر أفلام النوار
المصطلح “film noir” (فرنسي يعني “الفيلم الأسود”) اُستخدم للإشارة إلى الأفلام الهوليودية لأول مرة من قبل الناقد الفرنسي نينوفرانك في العام 1946، وكان مصطلحاً جديداً على مسامع كافة العاملين في صناعة الأفلام الأمريكية الكلاسيكية آنذاك. وقام المؤرخون السينمائيون والنقاد على حدٍ سواء بتعريف أسس النوار عبر إجراء مسح تاريخي؛ حيث أنه قبل رسوخ هذا المصطلح مع حلول فترة السبعينات، كان يُطلق على أفلام النوار الكلاسيكية مصطلح ميلودراما “مزيج بين العاطفة والدراما”. وما يزال الباحثون في موضع جدل إذا كان “الفيلم نوار” مؤهل ليكون نوع سينمائي مستقل بحد ذاته.
Literary sources
The October 1934 issue of Black Mask featured the first appearance of the detective character whom Raymond Chandler developed into the famous Philip Marlowe.
يتضمن الفيلم الأسود عدة أنواع من القصص، وعادة ماقد يكون البطل الرئيسي فيه إما محقق خاص (The Big Sleep)، شرطي متخفي (The Big Heat)، ملاكم مسن (The Set-Up)، محتال سيء الطالع (Night and the City) مواطن مطيع للقانون يندس إلى عالم الإجرام (Gun Crazy) أوضحية لظروفه الاجتماعية (D.O.A.). وبالرغم من حتى أجواء الفيلم الأسود عُرفت أساساً ضمن الأفلام الأمريكية، فقد باتت الكثير من الأفلام حالياً توصف بالنوار وفي كافة أراتى العالم. فمع بداية فترة الستينات وصاعداً، صدرت الكثير من الأفلام التي تشهجر بنفس خصائص الفيلم الأسود الكلاسيكي، وتتعامل مع تنطقيد الفيلم الأسود غالباً بطريقة الخصوصية الذاتية “نظرية تشير إلى العمل نفسه وتخدمه”. ويُشار كثيراً لهذه الأعمال الأكثر حداثة والمستخدمة لأجواء النوار باسم “نيونوار – النوار الجديد”. كما ألهمت المعاني المجازية لفيلم النوار فن المحاكاة التهكمية منذ أواسط الأربعينات.
Classic period
Directors and the business of noir
A scene from In a Lonely Place (1950), directed by Nicholas Ray and based on a novel by noir fiction writer Dorothy B. Hughes. Two of noir's defining actors, Gloria Grahame and Humphrey Bogart, portray star-crossed lovers in the film.
| Classic-era film noirs in the National Film Registry | |
|---|---|
| 1940–49 |
The Maltese Falcon |
Shadow of a Doubt |
Laura |
Double Indemnity |
Mildred Pierce |
The Lost Weekend |
| 1950–58 |
Gun Crazy |
D.O.A. |
In a Lonely Place |
The Asphalt Jungle |
Sunset Boulevard |
Outside the United States
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"Générique" ("Nuit sur les Champs-Élysées")
The moody, evocative music improvised by jazz trumpeter Miles Davis's quintet for Ascenseur pour l'échafaud (1958) is regarded as one of the definitive noir scores.
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هل لديك معضلة في تشغيل هذا الملف،يا ترى؟ انظر مساعدة الوسائط. | |
Science fiction noir
Harrison Ford as detective Rick Deckard in Blade Runner (1982). Like many classic noirs, the film is set in a version of Los Angeles where it constantly rains. The steam in the foreground is a familiar noir trope, while the "bluish-smoky exterior" updates the black-and-white mode.
الحبكات والشخصيات والمناظر
By the late 1940s, the noir trend was leaving its mark on other genres. A prime example is the Western Pursued (1947), filled with psychosexual tensions and behavioral explanations derived from Freudian theory.
See also
- Film gris
- Scandinavian noir
- List of film noir titles
- List of neo-noir titles
Notes
- Opinion is divided on the English plural of film noir. In the French from which the term derives, the plural is films noirs. Some English speakers prefer films noir, while film noirs is the most common formulation. The Merriam-Webster Online Dictionary, which acknowledges all three styles as acceptable, lists film noirs first.
- His Kind of Woman was originally directed by John Farrow, then largely reshot under Richard Fleischer after studio owner Howard Hughes demanded rewrites. Only Farrow was credited.
- In Academic Dictionary of Arts (2005), Rakesh Chopra notes that the high-contrast film lighting schemes commonly referred to as "chiaroscuro" are more specifically representative of tenebrism, whose first great exponent was the Italian painter Caravaggio (p. 73). See also Ballinger and Graydon (2007), p. 16.
مراجع
- ^ https://www.lightsfilmschool.com/blog/short-film-draws-from-art-deco-film-noir-architecture-poster-design-expressionist-films
- ^ "The ten greatest neo-noir films". The Independent (in الإنجليزية). 2016-09-30. Retrieved 2017-08-17.
- ^ Brennan, Mike (2005-04-04). (review)". SoundtrackNet. Retrieved 2010-02-13.
- ^ Hughes, Sarah (2006-03-26). "Humphrey Bogart's Back—But This Time Round He's at High School". Observer. Retrieved 2010-10-10.
- ^ Widdicombe (2001), pp. 37–39, 59–60, 118–19; Doherty, Jim. "Carmady". Thrilling Detective Web Site. Retrieved 2010-02-25.
- ^ Butler (2002), p. 12.
- ^ Hunter (1982), p. 197.
- ^ Kennedy (1982), p. 65.
- ^ Ottoson (1981), p. 143.
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^ "film noir". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2009-02-10.
Inflected Form(s): plural film noirs \-'nwär(z)\ or films noir or films noirs \-'nwär\
- ^ Server (2002), pp. 182–98, 209–16; Downs (2002), p. 171; Ottoson (1981), pp. 82–83.
Sources
- Abbas, M. Ackbar (1997). Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-2924-4
- Appel, Alfred (1974). Nabokov's Dark Cinema. Oxford and New York: Oxford University Press. ISBN 978-0-19-501834-9
- Aziz, Jamaluddin Bin (2005). "Future Noir", chap. in "Transgressing Women: Investigating Space and the Body in Contemporary Noir Thrillers". Ph. D. dissertation, Department of English and Creative Writing, Lancaster University (chapter available online).
- Ballinger, Alexander, and Danny Graydon (2007). The Rough Guide to Film Noir. London: Rough Guides. ISBN 978-1-84353-474-7
- Bernstein, Matthew (1995). "A Tale of Three Cities: The Banning of Scarlet Street", Cinema Journal 35, no. 1.
- Biesen, Sheri Chinen (2005). Blackout: World War II and the Origins of Film Noir. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-8217-3
- Borde, Raymond, and Etienne Chaumeton (2002 [1955]). A Panorama of American Film Noir, 1941–1953, trans. Paul Hammond. San Francisco: City Lights Books. ISBN 978-0-87286-412-2
- Bould, Mark (2005). Film Noir: From Berlin to Sin City. London and New York: Wallflower. ISBN 978-1-904764-50-2
- Butler, David (2002). Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction. Westport, Conn.: Greenwood. ISBN 978-0-275-97301-8
- Cameron, Ian, ed. (1993). The Book of Film Noir. New York: Continuum. ISBN 978-0-8264-0589-0
- Christopher, Nicholas (1998 [1997]). Somewhere in the Night: Film Noir and the American City, 1st paperback ed. New York: Owl/Henry Holt. ISBN 978-0-8050-5699-0
- Clarens, Carlos (1980). Crime Movies: An Illustrated History. New York: W.W. Norton. ISBN 978-0-393-01262-0
- Conard, Mark T. (2007). The Philosophy of Neo-Noir. Lexington: University Press of Kentucky. ISBN 978-0-8131-2422-3
- Copjec, Joan, ed. (1993). Shades of Noir. London and New York: Verso. ISBN 978-0-86091-625-3
- Creeber, Glen (2007). The Singing Detective. London: BFI Publishing. ISBN 978-1-84457-198-7
- Dancyger, Ken, and Jeff Rush (2002). Alternative Scriptwriting: Successfully Breaking the Rules, 3d ed. Boston and Oxford: Focal Press. ISBN 978-0-240-80477-4
- Dargis, Manohla (2004). "Philosophizing Sex Dolls amid Film Noir Intrigue", The New York Times, September 17 (available online).
- Davis, Blair (2004). "Horror Meets Noir: The Evolution of Cinematic Style, 1931–1958", in Horror Film: Creating and Marketing Fear, ed. Steffen Hantke. Jackson: University Press of Mississippi. ISBN 978-1-57806-692-6
- Downs, Jacqueline (2002). "Richard Fleischer", in Contemporary North American Film Directors: A Wallflower Critical Guide, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson. London and New York: Wallflower. ISBN 978-1-903364-52-9
- Durgnat, Raymond (1970). "Paint It Black: The Family Tree of the Film Noir", Cinema 6/7 (collected in Gorman et al., The Big Book of Noir, and Silver and Ursini, Film Noir Reader [1]).
- Erickson, Glenn (2004). "Fate Seeks the Loser: Edgar G. Ulmer's Detour", in Silver and Ursini, Film Noir Reader 4, pp. 25–31.
- Gorman, Ed, Lee Server, and Martin H. Greenberg, eds. (1998). The Big Book of Noir. New York: Carroll & Graf. ISBN 978-0-7867-0574-0
- Greene, Naomi (1999). Landscapes of Loss: The National Past in Postwar French Cinema. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-00475-4
- Greenspun, Roger (1973). "Mike Hodges's 'Pulp' Opens; A Private Eye Parody Is Parody of Itself", The New York Times, Februaryتسعة (available online).
- Hanson, Helen (2008). Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London and New York: I.B. Tauris. ISBN 978-1-84511-561-6
- Hayde, Michael J. (2001). My Name's Friday: The Unauthorized But True Story of Dragnet and the Films of Jack Webb. Nashville, Tenn.: Cumberland House. ISBN 978-1-58182-190-1
- Hirsch, Foster (1999). Detours and Lost Highways: A Map of Neo-Noir. Pompton Plains, N.J.: Limelight. ISBN 978-0-87910-288-3
- Hirsch, Foster (2001 [1981]). The Dark Side of the Screen: Film Noir. New York: Da Capo. ISBN 978-0-306-81039-8
- Holden, Stephen (1999). "Hard-Boiled as a Two-Day-Old Egg at a Two-Bit Diner", The New York Times, Octoberثمانية (available online).
- Holm, D. K. (2005). Film Soleil. Harpenden, UK: Pocket Essentials. ISBN 978-1-904048-50-3
- Hunter, Stephen (1982). "Blade Runner", in his Violent Screen: A Critic's 13 Years on the Front Lines of Movie Mayhem (1995), pp. 196–99. Baltimore: Bancroft. ISBN 978-0-9635376-4-5
- Irwin, John T. (2006). Unless the Threat of Death is Behind Them: Hard-Boiled Fiction and Film Noir. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-8435-1
- James, Nick (2002). "Back to the Brats", in Contemporary North American Film Directors, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson, pp. xvi–xx. London: Wallflower. ISBN 978-1-903364-52-9
- Jones, Kristin M. (2009). "Dark Cynicism, British Style", Wall Street Journal, August 18 (available online).
- Kennedy, Harlan (1982). "Twenty-First Century Nervous Breakdown", Film Comment, July/August.
- Kirgo, Julie (1980). "Farewell, My Lovely (1975)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 101–2.
- Kolker, Robert (2000). A Cinema of Loneliness, 3d ed. Oxford and New York: Oxford University Press. ISBN 978-0-19-512350-0
- Krutnik, Frank, Steve Neale, and Brian Neve (2008). "Un-American" Hollywood: Politics and Film in the Blacklist Era. New Brunswick, N.J.: Rutgers University Press. ISBN 978-0-8135-4198-3
- Lynch, David, and Chris Rodley (2005). Lynch on Lynch, rev. ed. New York and London: Faber and Faber. ISBN 978-0-571-22018-2
- Lyons, Arthur (2000). Death on the Cheap: The Lost B Movies of Film Noir. New York: Da Capo. ISBN 978-0-306-80996-5
- Macek, Carl (1980). "City Streets (1931)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 59–60.
- Macek, Carl, and Alain Silver (1980). "House on 92nd Street (1945)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 134–35.
- Mackendrick, Alexander (2006). On Film-making: An Introduction to the Craft of the Director. New York: Macmillan. ISBN 978-0-571-21125-8
- Marshman, Donald (1947). "Mister 'See'-Odd-Mack'", Life, August 25.
- Martin, Richard (1997). Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. Lanham, Md.: Scarecrow Press. ISBN 0-8108-3337-9
- Maslin, Janet (1996). "Deadly Plot by a Milquetoast Villain", The New York Times, Marchثمانية (available online).
- McGilligan, Patrick (1997). Fritz Lang: The Nature of the Beast. New York and London: Faber and Faber. ISBN 978-0-571-19375-2
- Muller, Eddie (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. ISBN 978-0-312-18076-8
- Naremore, James (2008). More Than Night: Film Noir in Its Contexts, 2d ed. Berkeley, Los Angeles, and London: University of California Press. ISBN 978-0-520-25402-2
- Neale, Steve (2000). Genre and Hollywood. London and New York: Routledge. ISBN 978-0-415-02606-2
- Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940–1958. Metuchen, N.J., and London: Scarecrow Press. ISBN 978-0-8108-1363-2
- Palmer, R. Barton (2004). "The Sociological Turn of Adaptation Studies: The Example of Film Noir", in A Companion To Literature And Film, ed. Robert Stam and Alessandra Raengo, pp. 258–77. Maiden, Mass., Oxford, and Carlton, Australia: Blackwell. ISBN 978-0-631-23053-3
- Place, Janey, and Lowell Peterson (1974). "Some Visual Motifs of Film Noir", Film Comment 10, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]).
- Porfirio, Robert (1980). "Stranger on the Third Floor (1940)", in Silver and Ward, Film Noir: An Encyclopedic Reference, p. 269.
- Ray, Robert B. (1985). A Certain Tendency of the Hollywood Cinema, 1930–1980. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-10174-3
- Richardson, Carl (1992). Autopsy: An Element of Realism in Film Noir. Metuchen, N.J., and London: Scarecrow Press. ISBN 978-0-8108-2496-6
- Sanders, Steven M. (2006). "Film Noir and the Meaning of Life", in The Philosophy of Film Noir, ed. Mark T. Conard, pp. 91–106. Lexington: University Press of Kentucky. ISBN 978-0-8131-9181-2
- Sarris, Andrew (1996 [1968]). The American Cinema: Directors and Directions, 1929–1968. Cambridge, Mass.: Da Capo. ISBN 978-0-306-80728-2
- Schatz, Thomas (1981). Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: Random House. ISBN 978-0-07-553623-9
- Schatz, Thomas (1998 [1996]). The Genius of the System: Hollywood Filmmaking in the Studio Era, new ed. London: Faber and Faber. ISBN 978-0-571-19596-1
- Schrader, Paul (1972). "Notes on Film Noir", Film Comment 8, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]).
- Server, Lee (2002). Robert Mitchum: "Baby I Don't Care". New York: Macmillan. ISBN 978-0-312-28543-2
- Server, Lee (2006). Ava Gardner: "Love Is Nothing". New York: Macmillan. ISBN 978-0-312-31209-1
- Silver, Alain (1996 [1975]). "Kiss Me Deadly: Evidence of a Style", rev. ver., in Silver and Ursini, Film Noir Reader [1], pp. 209–35.
- Silver, Alain (1996). "Introduction", in Silver and Ursini, Film Noir Reader [1], pp. 3–15.
- Silver, Alain, and James Ursini (and Robert Porfirio—vol. 3), eds. (2004 [1996–2004]). Film Noir Reader, vols. 1–4. Pompton Plains, N.J.: Limelight.
- Silver, Alain, and Elizabeth Ward (1992). Film Noir: An Encyclopedic Reference to the American Style, 3d ed. Woodstock, N.Y.: Overlook Press. ISBN 978-0-87951-479-2 (See also: Silver, Ursini, Ward, and Porfirio [2010]. Film Noir: The Encyclopedia, 4th rev., exp. ed. Overlook. ISBN 978-1-59020-144-2)
- Slocum, J. David (2001). Violence and American Cinema. London and New York: Routledge. ISBN 978-0-415-92810-6
- Spicer, Andrew (2007). European Film Noir. Manchester, UK: Manchester University Press. ISBN 978-0-7190-6791-4
- Telotte, J. P. (1989). Voices in the Dark: The Narrative Patterns of Film Noir. Urbana and Chicago: University of Illinois Press. ISBN 978-0-252-06056-4
- Thomson, David (1998). A Biographical Dictionary of Film, 3d ed. New York: Knopf. ISBN 978-0-679-75564-7
- Turan, Kenneth (2008). "UCLA's Pre-Code Series", Los Angeles Times, January 27 (available online).
- Tuska, Jon (1984). Dark Cinema: American Film Noir in Cultural Perspective. Westport, Conn., and London: Greenwood. ISBN 978-0-313-23045-5
- Tyree, J. M., and Ben Walters (2007). The Big Lebowski. London: BFI Publishing. ISBN 978-1-84457-173-4
- Ursini, James (1995). "Angst at Sixty Fields per Second", in Silver and Ursini, Film Noir Reader [1], pp. 275–87.
- "Variety staff" (anon.) (1940). "Stranger on the Third Floor" [review], Variety (excerpted online).
- "Variety staff" (anon.) (1955). "Kiss Me Deadly" [review], Variety (excerpted online).
- Vernet, Marc (1993). "Film Noir on the Edge of Doom", in Copjec, Shades of Noir, pp. 1–31.
- Wager, Jans B. (2005). Dames in the Driver's Seat: Rereading Film Noir. Austin: University of Texas Press. ISBN 978-0-292-70966-9
- Walker, Michael (1992). "Robert Siodmak", in Cameron, The Book of Film Noir, pp. 110–51.
- White, Dennis L. (1980). "Beast of the City (1932)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 16–17.
- Widdicombe, Toby (2001). A Reader's Guide to Raymond Chandler. Westport, Conn.: Greenwood. ISBN 978-0-313-30767-6
- Williams, Linda Ruth (2005). The Erotic Thriller in Contemporary Cinema. Bloomington: Indiana University Press. ISBN 978-0-253-34713-8
للاستزادة
- Auerbach, Jonathan (2011). Film Noir and American Citizenship. Durham, N.C.: Duke University Press. ISBN 978-0-8223-4993-8
- Chopra-Gant, Mike (2005). Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. London: IB Tauris. ISBN 978-1-85043-838-0
- Cochran, David (2000). America Noir: Underground Writers and Filmmakers of the Postwar Era. Washington, D.C.: Smithsonian Institution Press. ISBN 978-1-56098-813-7
- Dickos, Andrew (2002). Street with No Name: A History of the Classic American Film Noir. Lexington: University Press of Kentucky. ISBN 978-0-8131-2243-4
- Dimendberg, Edward (2004). Film Noir and the Spaces of Modernity. Cambridge, Mass., and London: Harvard University Press. ISBN 978-0-674-01314-8
- Dixon, Wheeler Winston (2009). Film Noir and the Cinema of Paranoia. New Brunswick, N.J.: Rutgers University Press. ISBN 978-0-8135-4521-9
- Grossman, Julie (2009). Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up. Basingstoke, UK: Palgrave Macmillan. ISBN 978-0-230-23328-7
- Hannsberry, Karen Burroughs (1998). Femme Noir: Bad Girls of Film. Jefferson, N.C.: McFarland. ISBN 978-0-7864-0429-2
- Hannsberry, Karen Burroughs (2003). Bad Boys: The Actors of Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1484-0
- Hare, William (2003). Early Film Noir: Greed, Lust, and Murder Hollywood Style. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1629-5
- Hogan, David J. (2013). Film Noir FAQ. Milwaukee, WI: Hal Leonard. ISBN 978-1-55783-855-1
- Kaplan, E. Ann, ed. (1998). Women in Film Noir, new ed. London: British Film Institute. ISBN 978-0-85170-666-5
- Keaney, Michael F. (2003). Film Noir Guide: 745 Films of the Classic Era, 1940–1959. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1547-2
- Mason, Fran (2002). American Gangster Cinema: From Little Caesar to Pulp Fiction. Houndmills, UK: Palgrave. ISBN 978-0-333-67452-9
- Mayer, Geoff, and Brian McDonnell (2007). Encyclopedia of Film Noir. Westport, Conn.: Greenwood. ISBN 978-0-313-33306-4
- McArthur, Colin (1972). Underworld U.S.A. New York: Viking. ISBN 978-0-670-01953-3
- Osteen, Mark. Nightmare Alley: Film Noir and the American Dream (Johns Hopkins University Press; 2013) 336 pages; interprets film noir as a genre that challenges the American mythology of upward mobility and self-reinvention.
- Palmer, R. Barton (1994). Hollywood's Dark Cinema: The American Film Noir. New York: Twayne. ISBN 978-0-8057-9335-2
- Palmer, R. Barton, ed. (1996). Perspectives on Film Noir. New York: G.K. Hall. ISBN 978-0-8161-1601-0
- Pappas, Charles (2005). It's a Bitter Little World: The Smartest, Toughest, Nastiest Quotes from Film Noir. Iola, Wisc.: Writer's Digest Books. ISBN 978-1-58297-387-6
- Rabinowitz, Paula (2002). Black & White & Noir: America's Pulp Modernism. New York: Columbia University Press. ISBN 978-0-231-11481-3
- Schatz, Thomas (1997). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. ISBN 978-0-684-19151-5
- Selby, Spencer (1984). Dark City: The Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-89950-103-1
- Shadoian, Jack (2003). Dreams and Dead Ends: The American Gangster Film, 2d ed. Oxford and New York: Oxford University Press. ISBN 978-0-19-514291-4
- Silver, Alain, and James Ursini (1999). The Noir Style. Woodstock, N.Y.: Overlook Press. ISBN 978-0-87951-722-9
- Spicer, Andrew (2002). Film Noir. Harlow, UK: Pearson Education. ISBN 978-0-582-43712-8
- Starman, Ray (2006). TV Noir: the 20th Century. Troy, N.Y.: The Troy Bookmakers Press. ISBN 978-1-933994-22-2
وصلات خارجية
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مشاع الفهم فيه ميديا متعلقة بموضوع Film noir. |
- فيلم سوداوي على موسوعة بريتانيكا
- Film Noir: A Bibliography of Materials and Film Videography holdings of the UC Berkeley Library
- Film Noir: An Introduction essay with links to discussions of ten important noirs; part of Images: A Journal of Film and Popular Culture
- Film Noir Studies writings by John Blaser, with film noir glossary, timeline, and noir-related media
- A Guide to Film Noir Genre ten deadeye bullet points from Roger Ebert
- An Introduction to Neo-Noir essay by Lee Horsley
- : Introduction excerpt from 2001 book by Lee Horsley
- What Is This Thing Called Noir?: Parts I, II and III essay by Alain Silver and Linda Brookover
- Arthur Lyons Film Noir Festival, co-sponsored by the Palm Springs Cultural Center
نطقب:Crime fiction
