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  The Philosophy of Film Noir

  Mark T. Conard

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  An essay collection examining the philosophical elements of select films in noir cinema, as well as the genre’s legacy in film and culture. 
   
  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. 
   
  Praise for The Philosophy of Film Noir 
   
  “The essays work both as solid primers into philosophy, stretching from Aristotle to Schopenhauer, and as lucid excursions into the genre’s dark, mean streets. . . . A fascinating, readable, and provocative book. . . . Highly recommended.” —Choice 
   
  “Dense and intriguing, the book suggests noir is best perceived as a slightly warped mirror held up to contemporary society.” —Publishers Weekly

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  Black Directors in Hollywood

  Melvin Donalson

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  An in-depth look at the pioneering work and lasting influence of black Hollywood directors from Gordon Parks to Spike Lee and beyond. Hollywood film directors are some of the world’s most powerful storytellers, shaping the fantasies and aspirations of people around the globe. Since the 1960s, African Americans have increasingly joined their ranks, bringing fresh insights to the characters we watch, and profoundly changing the way stories are told. Today, black directors are making films in all popular genres, while inventing new ones to speak directly from and to the black experience.  This book offers a comprehensive look at the work of black directors in Hollywood, from pioneers such as Gordon Parks, Melvin Van Peebles, and Ossie Davis to current talents including Spike Lee, John Singleton, Kasi Lemmons, and Carl Franklin. Discussing sixty-seven individuals and over 135 films, Melvin Donalson thoroughly explores how black directors’ storytelling skills and film techniques have widened both the thematic focus and visual style of American cinema.  Assessing the meanings and messages in their films, Donalson convincingly demonstrates that black directors are balancing Hollywood's demand for box office success with artistic achievement and responsibility to ethnic, cultural, and gender issues.

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  Rogue's Gallery - Volume 1 -...

  Staff Writer

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  Hard Boiled Detectives.  Tough. Cynical. But they always get the job done no matter who - or what - gets in their way. 
   
  Richard Rogue was one of those hard boiled detectives.  He had a way with one liners, a way with the ladies and a way of solving crimes that is probably unique on the airwaves.  Every time he got took a fist to the jaw and got knocked out his sub-conscious took the clues and gave him the answer. 
   
  These classic programmes are wonderful reminders of times gone by. On rare instances the sound may fall short of modern audio standards.

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  Big Show The - Episode 6

  Goodman Ace

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  As the 1950s dawned America was a colossus militarily, economically and culturally.  It bestrode a globe it was doing so much to shape in its own image.  But it had concerns; the threat of communism.  And for the Movies and Radio there was another concern: the emerging rise of Television. 
   
  For Radio, still in its golden age of mass audiences and star filled programmes, they had a handy solution with ‘The Big Show’.  Its premise was simple but effective.  Take 90 minutes of air-time and fill it with the stars of stage, screen and radio doing comedy sketches, drama extracts and musical numbers. 
   
  It sounds simple enough and aided by a huge budget from NBC it was a success, staffed by the best writers and technical team in the business. 
   
  Hosted by Tallulah Bankhead, with her sharp and acidic wit and her brilliance at ad-libbing ‘The Big Show’ was big entertainment with big stars for a big audience.

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  Wassily Kandinsky and artworks

  Mikhaïl Guerman

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  Wassily Kandinsky (1866-1944) was a Russian painter credited as being among the first to truly venture into abstract art. He persisted in expressing his internal world of abstraction despite negative criticism from his peers. He veered away from painting that could be viewed as representational in order to express his emotions, leading to his unique use of colour and form. Although his works received heavy censure at the time, in later years they would become greatly influential.

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  Hit Hard - A Story of Hitting...

  Joey Kramer, William Patrick,...

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  In 1997, amid Aerosmith's sold-out world tour and number one album release, word about Joey's troubles was reported in the press.Despite the advice he had received to play it down, Joey revealed in an interview his ongoing struggles with depression. The response from fans and people battling those same internal demons was overwhelming. Joey—who has been the drummer in Aerosmith since it was founded in 1970 and is the first member of the band to release his own book—now tells the complete story: the early days of the band, glamorous drug-addled events leading up to their eventual sobriety, battles within his family and among bandmates, and the explosive internal dynamics in Aerosmith that continue to unleash a fury of endless creativity. This is not just another rock 'n' roll memoir. In addition to the never-before-told Aerosmith war stories that abound in the book, Hit Hard unpacks the history of a rock star who was both fragile and tough, who after years of insane wildness became willing to accept help and finally kick a serious alcohol and drug addiction, only to find that the real terrors and hard work were still ahead. It's the story of an average kid from an average American suburb who went through physical and emotional trauma. It's about years of depression and the nervous breakdown at the height of the band's comeback success. Ultimately, Hit Hard is about how Joey recognized his confusion between love and abuse, awakening to the kind of self-acceptance and compassion that make relationships possible in the "real world" as a member of the biggest band in American history.

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