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The Philosophy of Popular Culture
The Philosophy of Film Noir
A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A hard-drinking detective down on his luck becomes involved with a gang of criminals in pursuit of a priceless artifact. The stories are at once romantic, pessimistic, filled with anxiety and a sense of alienation, and they define the essence of film noir. Noir emerged as a prominent American film genre in the early 1940s, distinguishable by its use of unusual lighting, sinister plots, mysterious characters, and dark themes. From The Maltese Falcon (1941) to Touch of Evil (1958), films from this classic period reflect an atmosphere of corruption and social decay that attracted such accomplished directors as John Huston, Alfred Hitchcock, Billy Wilder, and Orson Welles. The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a modern, often nihilistic, world. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films -- themes such as moral ambiguity, reason versus passion, and pessimism. The contributors to the volume also argue that the essence and elements of noir have fundamentally influenced movies outside of the traditional noir period. Neo-noir films such as Pulp Fiction (1994), Fight Club (1999), and Memento (2000) have reintroduced the genre to a contemporary audience. As they assess the concepts present in individual films, the contributors also illuminate and explore the philosophical themes that surface in popular culture. A close examination of one of the most significant artistic movements of the twentieth century, The Philosophy of Film Noir reinvigorates an intellectual discussion at the intersection of popular culture and philosophy.
248 pages, Hardcover
First published January 1, 2005
31 people are currently reading
271 people want to read
About the author
Mark T. Conard
21 books38 followersMark T. Conard lives in New York City. He earned his Ph.D. in Philosophy from Temple University in Philadelphia. He’s the author of numerous essays, and is the co-editor of The Simpsons and Philosophy, and Woody Allen and Philosophy, both published by Open Court Press; and is editor of The Philosophy of Film Noir, The Philosophy of Neo-Noir, The Philosophy of Martin Scorsese, The Philosophy of The Coen Brothers, and The Philosophy of Spike Lee (all published by The University Press of Kentucky). He’s the editor of Nietzsche and the Philosophers (Routledge, 2017). In addition, he's the author of Dark as Night (2021) and A Killer's Coda (2021), both published by Down & Out Books.
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Displaying 1 - 15 of 15 reviews
January 15, 2022
Some really interesting essays in here for fans of film noir. Some stick closely with the title of the book: looking at the philosophy behind the idea of film noir in the light of actual philosophies and philosophers. Others examine and deconstruct particular movies. My favorites were the essay discussing how The Jazz Singer is actually a noir film, and the essay comparing the traditional noir detective with Sherlock Holmes.
April 4, 2008
I'm working my way through a stack of books on film noir--theory and criticism--so by the time I'm done a good annotated bibliography will be in hand.
First up is The Philosophy of Film Noir which features thirteen essays by philosophers and film theorists. These essays are written in plain english rather than highly technical academic lingo, so three cheers for the clear expression of ideas.
The book consists of three sections: (1) The Elements and Essence of Noir (2) Existentialism and Nihilism in Film Noir, and (3) Six Classic Film Noirs. So we go from the big ideas and themes to their realization in the noir heavy hitters.
Although--and perhaps because--this was not the first noir theory book I've read, I'd say this book is an excellent starting point for an exploration of noir theory because it provides a broad overview of noir's philosophic underpinnings. It's a good setup before delving into the other books on noir theory which are typically more technical and focused on particular themes.
First up is The Philosophy of Film Noir which features thirteen essays by philosophers and film theorists. These essays are written in plain english rather than highly technical academic lingo, so three cheers for the clear expression of ideas.
The book consists of three sections: (1) The Elements and Essence of Noir (2) Existentialism and Nihilism in Film Noir, and (3) Six Classic Film Noirs. So we go from the big ideas and themes to their realization in the noir heavy hitters.
Although--and perhaps because--this was not the first noir theory book I've read, I'd say this book is an excellent starting point for an exploration of noir theory because it provides a broad overview of noir's philosophic underpinnings. It's a good setup before delving into the other books on noir theory which are typically more technical and focused on particular themes.
September 15, 2019
A great critical analysis on the genre of film noir, and occasionally touches upon classical noir as a cross-media genre subject, with literature, film, and philosophy. My exposure to the broader genre is mostly from the classical literature of Chandler and Hammett, as well as some neo-noir film (1970s and onward), like Chinatown, and the more recent neo-noir/sci-fit hybrids like Dark City, The 13th Floor, Blade Runner, etc., as well as contemporary fusion genres that find their lineage in the kernel of noir, like cyberpunk and steampunk. This analysis does not address much on noir-hybrids, though it does mention films like The Matrix and there are sections dedicated to David Lynch's work, especially Lost Highway and Blue Velvet. Strangely, on Lynch, his most noir of works, Twin Peaks doesn't really get any exposure.
This work, mostly constricts itself to works of the 1930s-50s, with some notable omissions, including the works of Hitchcock. Another omitted medium is that of sound. As anyone decently familiar with American media art form, who has heard the haunting score of Jerry Goldmsith's Chinatown theme will immediately recognize it as something vaguely hailing from a fog-ridden past of a black-and-white 1930s, even if they have never seen a single film noir. Even newer non-American film-genres like anime will mimick this sound, easily heard from the scores of Cowboy Bebop and Big O. The consistent in this homophilly in sound can even be heard in relatively modern neo-noir not set in the era's of the 30-40s, like "Laura's Theme" from the acclaimed 2005 film Brick. Perhaps this phenomena and the composer's attempts to evoke certain feelings from his sound relating to the central ideas of noir could be discussed in some future work?
Despite that, this book covers a great range of topics in each chapter from the history of the genre, an analysis of prevalent archetypes usually found in the stories like the hard-boiled detective, the femme fatale etc., as well as more cerebral topics, like the philosophic themes found in these stories, like the prevalence of nihilism, or apparent nihilism, in the characters actions. Sometimes this merely a purposeful mirage to obfuscate the true plot, other times, this nihilism is real and reveals a sort of rot in society hidden just beneath the surface (a la Blue Velvet). Also discussed several times is the misapplied label that noir represents a more realistic kind of fiction, that somehow reflects society with more veracity than other narrative forms. Perhaps to those who believe in Hobbes may think so, but the authors make clear that noir is a heavily stylized genre.
The prevalence of subterfuge, and the notion of hidden rot, stem from an early critique of "modernism" in the 20th century, stemming from the ecological disasters of the dust bowl in the 30s, and the burgeoning political chaos of the 1920s and 30s leading towards the second world war. Many of these views also originate from European critiques of America in the first half of the 20th century. Many of the classical noir directors and writers were themselves European emigres or refugees. Many of these men were critical of the "American way of life", especially those promoted by the then newly built continental highway system. To these Europeans, the constant movement of people and families, forced or otherwise, help destroy the solid fabric of traditional society that prevented the kind of rot and degeneracy often portrayed in noir film and stories. Ironic that similar sentiment persist in our political landscape today. Some things never change.
The last part of the book are case studies of noir films, which include Detour, The Killers Out of the Past, The Accused, the Maltese Falcon, and Ride the Pink. Of these films I've only read the Maltese Falcon, and I've never seen any film version of any of these stories, so I probably got less out of this section relative to the first 2/3 of the book. Still, they would serve as good cliff notes of these films for a course, though they are best read only after having viewed them or attaining some familiarity of the stories.
Overall, this is a great book on the topic. For fans of any iteration of the genre, it is instructive to get a better understanding of the themes involved less takes the meanings conveyed in these stories too literally. It's hard to separate noir viewpoints from reality cause the jaded and cynical outlook of reality prompted in this genre has come to be a sort of defacto outlook in our modern society. Yet, if one can take a step back and view this genre as a highly stylized projection of reality itself, instead of a mere reflection of it, one will find much more interesting things to disentangle and digest in the themes themselves, that will hopefully contribute to the maturity of the reader more directly and positively. Recommended
This work, mostly constricts itself to works of the 1930s-50s, with some notable omissions, including the works of Hitchcock. Another omitted medium is that of sound. As anyone decently familiar with American media art form, who has heard the haunting score of Jerry Goldmsith's Chinatown theme will immediately recognize it as something vaguely hailing from a fog-ridden past of a black-and-white 1930s, even if they have never seen a single film noir. Even newer non-American film-genres like anime will mimick this sound, easily heard from the scores of Cowboy Bebop and Big O. The consistent in this homophilly in sound can even be heard in relatively modern neo-noir not set in the era's of the 30-40s, like "Laura's Theme" from the acclaimed 2005 film Brick. Perhaps this phenomena and the composer's attempts to evoke certain feelings from his sound relating to the central ideas of noir could be discussed in some future work?
Despite that, this book covers a great range of topics in each chapter from the history of the genre, an analysis of prevalent archetypes usually found in the stories like the hard-boiled detective, the femme fatale etc., as well as more cerebral topics, like the philosophic themes found in these stories, like the prevalence of nihilism, or apparent nihilism, in the characters actions. Sometimes this merely a purposeful mirage to obfuscate the true plot, other times, this nihilism is real and reveals a sort of rot in society hidden just beneath the surface (a la Blue Velvet). Also discussed several times is the misapplied label that noir represents a more realistic kind of fiction, that somehow reflects society with more veracity than other narrative forms. Perhaps to those who believe in Hobbes may think so, but the authors make clear that noir is a heavily stylized genre.
The prevalence of subterfuge, and the notion of hidden rot, stem from an early critique of "modernism" in the 20th century, stemming from the ecological disasters of the dust bowl in the 30s, and the burgeoning political chaos of the 1920s and 30s leading towards the second world war. Many of these views also originate from European critiques of America in the first half of the 20th century. Many of the classical noir directors and writers were themselves European emigres or refugees. Many of these men were critical of the "American way of life", especially those promoted by the then newly built continental highway system. To these Europeans, the constant movement of people and families, forced or otherwise, help destroy the solid fabric of traditional society that prevented the kind of rot and degeneracy often portrayed in noir film and stories. Ironic that similar sentiment persist in our political landscape today. Some things never change.
The last part of the book are case studies of noir films, which include Detour, The Killers Out of the Past, The Accused, the Maltese Falcon, and Ride the Pink. Of these films I've only read the Maltese Falcon, and I've never seen any film version of any of these stories, so I probably got less out of this section relative to the first 2/3 of the book. Still, they would serve as good cliff notes of these films for a course, though they are best read only after having viewed them or attaining some familiarity of the stories.
Overall, this is a great book on the topic. For fans of any iteration of the genre, it is instructive to get a better understanding of the themes involved less takes the meanings conveyed in these stories too literally. It's hard to separate noir viewpoints from reality cause the jaded and cynical outlook of reality prompted in this genre has come to be a sort of defacto outlook in our modern society. Yet, if one can take a step back and view this genre as a highly stylized projection of reality itself, instead of a mere reflection of it, one will find much more interesting things to disentangle and digest in the themes themselves, that will hopefully contribute to the maturity of the reader more directly and positively. Recommended
April 28, 2018
There is some very interesting and insightful analysis of Film Noir in this collection of disparate and sometimes conflicting essays. One essay, in particular, really resonated with me. It pointed out that, while Film Noir is considered an American style of film, many of Film Noir's directors and cinematographers were displaced Europeans finding it hard to adapt to their life in the US. Thus, their pessimistic commentary on urban America is really an outsider's view of post-war America. This strikes me as hitting the mark. Overall, a thought provoking and highly recommended.
May 29, 2023
Mark Conrad expertly collects and masterfully displays a Modernist categorisation of the techniques, themes, and tones that go into Film Noir.
Rather than a genre of film, we enter into the world of the implied and subliminal that speak to our shared awareness of unease.
Leading us to a Post-Modern realisation that not all we entered with, in belief or assumption, is as we had hoped it would be.
We are referenced through a Film Noir hall of fame to the luminaries of the Modernist (Humanism & Romanticism) critique, Existential thought (Phenomenology), and Post Modern (Social Critique) exploration, with insight from the likes of Schopenhauer, Hegel, Dostoevsky, Kierkegaard, Nietzsche, Camus, Beauvoir, and Sartre.
We are introduced to the Frankfurt school, and their insight into Social Theory from Marcuse, Adorno, Horkheimer, Benjamin, Fromm, and Habermas illustrate the effects of War and persecution on these emigres to Hollywood, who would go on to form the backbone of this industry for over two decades.
Conrad has crafted a fun work on the ideological basis of why a shadow must be considered significant if within the frame, and I implore you to celebrate it too.
Long live Film Noir.
Rather than a genre of film, we enter into the world of the implied and subliminal that speak to our shared awareness of unease.
Leading us to a Post-Modern realisation that not all we entered with, in belief or assumption, is as we had hoped it would be.
We are referenced through a Film Noir hall of fame to the luminaries of the Modernist (Humanism & Romanticism) critique, Existential thought (Phenomenology), and Post Modern (Social Critique) exploration, with insight from the likes of Schopenhauer, Hegel, Dostoevsky, Kierkegaard, Nietzsche, Camus, Beauvoir, and Sartre.
We are introduced to the Frankfurt school, and their insight into Social Theory from Marcuse, Adorno, Horkheimer, Benjamin, Fromm, and Habermas illustrate the effects of War and persecution on these emigres to Hollywood, who would go on to form the backbone of this industry for over two decades.
Conrad has crafted a fun work on the ideological basis of why a shadow must be considered significant if within the frame, and I implore you to celebrate it too.
Long live Film Noir.
October 23, 2024
Excellent anthology of philosophical analyses of both the genre as a whole and specific films. I was researching an article I was writing on happy endings vs. unhappy endings in literature and film. Noir stands out as a glaring counterexample to the otherwise optimistic, upbeat musicals of traditional Hollywood escapism. Its popularity revealed a previously hidden longing in the viewing public for more cynical/realistic and transgressive narratives. This isn't where I'd start if I were beginning to learn about film noir, but it's a good source for deeper insights than you'll find in the more extensive surveys. I would also recommend Horror Noir: Where Cinema's Dark Sisters Meet by Paul Meehan.
November 10, 2021
Noirvember #1: Absolutely essential collection of essays on the ties between film noir and philosophy. Approachable, in-depth, interesting... an essential look into the American postwar malaise!
Full review to come, but highest possible recommendation for film studies enthusiasts and philosophers.
Full review to come, but highest possible recommendation for film studies enthusiasts and philosophers.
May 11, 2022
It's one of those books written more for the pleasure of the people writing it.
October 11, 2023
At times lofty and overwrought when focused on philosophy and too detailed retelling the stories of films.
February 11, 2017
Please give me a helpful vote on Amazon - https://www.amazon.com/review/R3P02MH...
I have been listening to this book as an audiobook for approximately four years. It is very academic and dry, and, yet, informative and illuminating. For me, the best part of this book has been to spark my interest in the movies mentioned. Because of this book, I have watched a number of movies that I would not otherwise have watched, and I have watched those movies looking for symbols and meanings and clues and scenes that would otherwise have passed me by.
In other words, my appreciation for the genre has been substantially broadened and deepened.
However, as I said, this book is very academic. It is definitely not for anyone interested in a quick dip into the subject. For a taste of the academic orientation of the book, let's look at the Table of Contents:
Part 1: The Essence and Elements of Noir
Nietzsche and the Meaning and Definition of Noir Mark T Conard
A Darker Shade: Realism in Neo-Noir Jason Holt
Moral Clarity and Practical Reason in Film Noir Aeon J. Skoble
Cherchez la Femme Fatale: The Mother of Film Noir Read Mercer Schuchardt
From Sherlock Holmes to the Hard-Boiled Detective in Film Noir Jerold J. Abrams
Part 2: Existentialism and Nihilism in Film Noir
Film Noir and the Meaning of Life Steven M. Sanders
The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent Alan Woolfolk
Symbolism, Meaning, and Nihilism in Quentin Tarantino's Pulp Fiction Mark T Conard
Part 3: Six Classic Films Noirs
Film Noir and the Frankfurt School: America as Wasteland in Edgar Ulmer's Detour Paul A. Cantor
Knowledge, Morality, and Tragedy in The Killers and Out of the Past Ian Jarvie
Moral Man in the Dark City: Film Noir, the Postwar Religious Revival, and The Accused R. Barton Palmer
On Reason and Passion in The Maltese Falcon Deborah Knight
Ride the Pink Horse: Money, Mischance, Murder, and the Monads of Film Noir Alain Silver
As is apparent from the Table of Contents, this is not a unified book, but rather a collection of essays from various perspectives. In listening to this as an audiobook, the shift from one article to the other could be confusing or disconcerting, but I am sure that the visual markers in the book will prevent this problem.
Also apparent from the Table of Contents, the essays do get deep into the academic weeds immediately. A reader will find themselves involved in Feminists analysis of the role of femmes fatale to the existentialism of various movies.
The early articles deal with the issue of "what, exactly, is film noir?" The answer seems to be that there is no "exactly" there. It is a style from a time period that expresses a mood with certain tropes....in other words, you know it when you see it.
Again, I got a lot out of this book, but, obviously, I found it a slog since I listened to it for years. I also purchased the book because I want to be able to go back to the articles and locate the movies discussed and watch them in the future.
I have been listening to this book as an audiobook for approximately four years. It is very academic and dry, and, yet, informative and illuminating. For me, the best part of this book has been to spark my interest in the movies mentioned. Because of this book, I have watched a number of movies that I would not otherwise have watched, and I have watched those movies looking for symbols and meanings and clues and scenes that would otherwise have passed me by.
In other words, my appreciation for the genre has been substantially broadened and deepened.
However, as I said, this book is very academic. It is definitely not for anyone interested in a quick dip into the subject. For a taste of the academic orientation of the book, let's look at the Table of Contents:
Part 1: The Essence and Elements of Noir
Nietzsche and the Meaning and Definition of Noir Mark T Conard
A Darker Shade: Realism in Neo-Noir Jason Holt
Moral Clarity and Practical Reason in Film Noir Aeon J. Skoble
Cherchez la Femme Fatale: The Mother of Film Noir Read Mercer Schuchardt
From Sherlock Holmes to the Hard-Boiled Detective in Film Noir Jerold J. Abrams
Part 2: Existentialism and Nihilism in Film Noir
Film Noir and the Meaning of Life Steven M. Sanders
The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent Alan Woolfolk
Symbolism, Meaning, and Nihilism in Quentin Tarantino's Pulp Fiction Mark T Conard
Part 3: Six Classic Films Noirs
Film Noir and the Frankfurt School: America as Wasteland in Edgar Ulmer's Detour Paul A. Cantor
Knowledge, Morality, and Tragedy in The Killers and Out of the Past Ian Jarvie
Moral Man in the Dark City: Film Noir, the Postwar Religious Revival, and The Accused R. Barton Palmer
On Reason and Passion in The Maltese Falcon Deborah Knight
Ride the Pink Horse: Money, Mischance, Murder, and the Monads of Film Noir Alain Silver
As is apparent from the Table of Contents, this is not a unified book, but rather a collection of essays from various perspectives. In listening to this as an audiobook, the shift from one article to the other could be confusing or disconcerting, but I am sure that the visual markers in the book will prevent this problem.
Also apparent from the Table of Contents, the essays do get deep into the academic weeds immediately. A reader will find themselves involved in Feminists analysis of the role of femmes fatale to the existentialism of various movies.
The early articles deal with the issue of "what, exactly, is film noir?" The answer seems to be that there is no "exactly" there. It is a style from a time period that expresses a mood with certain tropes....in other words, you know it when you see it.
Again, I got a lot out of this book, but, obviously, I found it a slog since I listened to it for years. I also purchased the book because I want to be able to go back to the articles and locate the movies discussed and watch them in the future.
February 8, 2020
I am not going to finish this one. I'm too familiar with the shalowness of the genre. What happens in these kind of treatises, is that many academics who take their own field of study way too seriously, get into their pens and apply far-fetched post-modernist theories on a subject that has no need for this type of analysis. The result is usually a nearly unreadable text with way too many syllables. I imagine that many practitioners of the genre think that their theories make sense, in the same way that soothsayers really believe the information they find in Nostradamus, the zodiac or in a deck of cards.
With chapters like "Resisting the Cult of Multiplied Sensation” or even better: "The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent", you get an idea of the lingo used here. Many social tendencies, evolutions and philosophical views are projected onto the classic movies of the noir era. The problem is that those movies were the product of directors who, in a constricting studio system, tried to bring to life screenplays adapted from novelists who wrote pulp stories to earn their living. And yes, you can say that all the people involved were a product of their time and thus, unconsciously, reflected the subtle evolutions in the philosophical substratum of the early twentieth century. The danger of that approach however is that you immediately fall into the trap of wanting to see things that are not there. Or to put it another way, if you want to see an illustration for a far-fetched sociological theory that you have concocted, you will find it in Mickey Mouse, in the history of the Roman empire and in last week's episode of The Sopranos. It is just a matter of wanting to see it.
Anyway, don't fall for it. It may be that the authors atually believe they have a point to make, but it is just baloney, and the complex language and the expensive words have as only use that neither the author, nor the possible readers, see through the scam.
With chapters like "Resisting the Cult of Multiplied Sensation” or even better: "The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent", you get an idea of the lingo used here. Many social tendencies, evolutions and philosophical views are projected onto the classic movies of the noir era. The problem is that those movies were the product of directors who, in a constricting studio system, tried to bring to life screenplays adapted from novelists who wrote pulp stories to earn their living. And yes, you can say that all the people involved were a product of their time and thus, unconsciously, reflected the subtle evolutions in the philosophical substratum of the early twentieth century. The danger of that approach however is that you immediately fall into the trap of wanting to see things that are not there. Or to put it another way, if you want to see an illustration for a far-fetched sociological theory that you have concocted, you will find it in Mickey Mouse, in the history of the Roman empire and in last week's episode of The Sopranos. It is just a matter of wanting to see it.
Anyway, don't fall for it. It may be that the authors atually believe they have a point to make, but it is just baloney, and the complex language and the expensive words have as only use that neither the author, nor the possible readers, see through the scam.
August 3, 2015
Presents as a compilation of views regarding the basic tenets behind the Film Noir movement. I never had considered these things very much, viewing the film interpretations as validation of the Hard Boiled Mysteries which I relish. These chapters shine a light on the darker corners of the post-war attitudes of screenwiters, directors, and other Hollywood visionaries of the time, as well as the How and Why of their choices of novels to memorialize. The concepts of neo-noir still escape me, even after learning from this tome, but I doubt that it is the fault of this book. If you have an affinity for Noir and/or Hard Boiled Mysteries, you will benefit from this presentation.
Narrator Jack does his usual professional best with this. Advisory: When utilizing an academic performed by Narrator Jack, you will find it best to overview at 1.5x speed first, then at normal speed with pen/paper at the ready. This is the perfect way to learn, as his normal rate for these is VERY conducive to appropriate note taking, and unlike class lectures, you can overview first to minimize redundant note-taking.
I am thankful for this gift.
Narrator Jack does his usual professional best with this. Advisory: When utilizing an academic performed by Narrator Jack, you will find it best to overview at 1.5x speed first, then at normal speed with pen/paper at the ready. This is the perfect way to learn, as his normal rate for these is VERY conducive to appropriate note taking, and unlike class lectures, you can overview first to minimize redundant note-taking.
I am thankful for this gift.
July 17, 2015
I received this audio book in exchange for a honest and unbiased review. Noir became a genre back in the 1940's. This book discusses the genre, how it started & how it blossomed. This books discusses different titles, what the movies are about, plot twists some characters named, others not. Many of out classics fall in the category Noir. Noir means darkness, sinister plots, dark themes, mysterious characters and unusual lighting and so on. Some of the most famous Noir names is Alfred Hitchcock & Orson Welles.
The author, Mark T Conard, did a really good job explaining all the difference and informing us to how the movies are written, directed and the whys. He wrote the book in a way that not only made it interest, but also makes me wonder what I missed on some of the classics I haven't seen yet. The narrator, Jack Chekijian did a wonderful delivery in this book.Together, these two men have made me look at the classics in a whole new light.
The author, Mark T Conard, did a really good job explaining all the difference and informing us to how the movies are written, directed and the whys. He wrote the book in a way that not only made it interest, but also makes me wonder what I missed on some of the classics I haven't seen yet. The narrator, Jack Chekijian did a wonderful delivery in this book.Together, these two men have made me look at the classics in a whole new light.
June 6, 2015
It was great fun watching old black-and-white movies from the Noir era, to fully appreciate this book!
Aside from that, it was a good way to get into 'the American mind', if there is such a thing, at a moment in time that was, well let's say, interesting.
Thought provoking ideas included the case of Phineas Gage, thriumphalist despair, America as a wasteland, among others, and of course Eco's metaphor of worldviews in the form of different kinds of labyrinths.
And of course, this book on classic Noirs helps to 'read' Neo-noirs (e.g. Fight Club, Pulp Fiction), which helps appreciating them.
Aside from that, it was a good way to get into 'the American mind', if there is such a thing, at a moment in time that was, well let's say, interesting.
Thought provoking ideas included the case of Phineas Gage, thriumphalist despair, America as a wasteland, among others, and of course Eco's metaphor of worldviews in the form of different kinds of labyrinths.
And of course, this book on classic Noirs helps to 'read' Neo-noirs (e.g. Fight Club, Pulp Fiction), which helps appreciating them.
September 28, 2015
"The Philosophy of Film Noir and Pop Culture"
I absolutely loved this audiobook and that would likely be because I love film noir. This was a wonderful overview and look at how it became popular. This is a gem for any movie buff who enjoys the genre. Even if film noir isn't someone's favorite genre, I think the philosophy itself is interesting in every way. Definitely recommended.
Jack Chekijian narrates this audiobook with style and it goes well with the book. He makes this a winning combination of author/narrator. He speaks clearly and is one of my favorite narrators.
Audiobook received in exchange for an honest review.
Displaying 1 - 15 of 15 reviews