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The primary literary influence on film noir was the hardboiled school of American detective and crime fiction, led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest, was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines ...
Film noir is not a clearly defined genre (see here for details on the characteristics). Therefore, the composition of this list may be controversial. To minimize dispute the films included here should preferably feature a footnote linking to a reliable, published source which states that the mentioned film is considered to be a film noir by an expert in this field, e.g.
Storm Warning is a 1950 [i] American thriller film noir [12] starring Ginger Rogers, Ronald Reagan, Doris Day, and Steve Cochran.Directed by Stuart Heisler, it follows a fashion model (Rogers) traveling to a small Southern town to visit her sister (Day), who witnesses the brutal murder of an investigative journalist by the Ku Klux Klan (KKK).
Constance Frances Marie Ockelman (November 14, 1922 – July 7, 1973), known professionally as Veronica Lake, was an American film, stage, and television actress.Lake was best known for her femme fatale roles in films noir with Alan Ladd during the 1940s, her peek-a-boo hairstyle, and films such as Sullivan's Travels (1941) and I Married a Witch (1942).
The growth of fast fashion fueled environmental issues. Fast fashion's meteoric rise is apparent in retail giants like Shein and Uniqlo, which both saw more than 20% revenue growth between 2022 ...
Grant Wood's magnum opus American Gothic, 1930, has become a widely known (and often parodied) icon of social realism.. Social realism is the term used for work produced by painters, printmakers, photographers, writers and filmmakers that aims to draw attention to the real socio-political conditions of the working class as a means to critique the power structures behind these conditions.
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Poetic realism films are "recreated realism", stylised and studio-bound, rather than approaching the "socio-realism of the documentary". [2] They usually have a fatalistic view of life with their characters living on the margins of society, either as unemployed members of the working class or as criminals.