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Neo-noir is a film genre that adapts the visual style and themes of 1940s and 1950s American film noir for contemporary audiences, often with more graphic depictions of violence and sexuality. [1] During the late 1970s and the early 1980s, the term "neo-noir" surged in popularity, fueled by movies such as Sydney Pollack 's Absence of Malice ...
Neon-noir can be seen as a response to the over-use of the term neo-noir. While the term neo-noir functions to bring noir into the contemporary landscape, it has often been criticized for its dilution of the noir genre. Author Robert Arnett commented on its "amorphous" reach: "any film featuring a detective or crime qualifies". [139]
Mean Streets: Martin Scorsese 1973 United States [37] Midnight Express: Alan Parker 1978 United States [37] The Midnight Man: Roland Kibbee and Burt Lancaster: 1974 United States [28] Mikey and Nicky: Elaine May: 1976 United States [64] Money Movers: Bruce Beresford: 1978 Australia [65] The New Centurions: Richard Fleischer: 1972 United States ...
The word "noir" was used by the Paris-based publisher Gallimard in 1945 as the title for its Série Noire crime fiction imprint. In the English-speaking world, the term originated as a cinematic one—film noir. [2] This term again first appeared in France, in 1946, [3] though it did not enjoy wide use until the 1970s. [10]
The neo-noir subgenre refers to crime dramas and mysteries produced from the mid-1960s to the present that, while they are generally shot in color and do not always emulate the visual style of classic film noir, often borrow the themes, archetypes, and plots made famous by the film noir genre.
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.
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With these characteristics, Fight Club masquerades as neo-noir. [1] It is instead best classified as a retro-noir since its presentation of gender roles is "diametrically opposed" to neo-noir films, which in contrast "allow their protagonists to survive, thrive, and commit or solve crimes, with and without male companionship or assistance".