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Film noir and urban space.

Dimendberg, Edward.

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Film noir and urban space.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Film noir and urban space./
作者:	Dimendberg, Edward.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1992,
面頁冊數:	350 p.
附註:	Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2137.
Contained By:	Dissertation Abstracts International53-07A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9235707

Film noir and urban space.
Dimendberg, Edward.

Film noir and urban space. - Ann Arbor : ProQuest Dissertations & Theses, 1992 - 350 p.

Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2137.

Thesis (Ph.D.)--University of California, Santa Cruz, 1992.

This study explores film noir, a popular film cycle of the Hollywood cinema of the 1940s and 1950s, in relation to changes in American space after the Second World War. Its approach is broadly interdisciplinary and uses methodologies and critical theories drawn from film studies, geography, architectural history, urban planning, philosophy, sociology, and literary and cultural criticism. While many commentators have noted the setting of most films noir in the metropolis, the historical coincidence between the film cycle and profound transformations in postwar American spatiality has received little attention.Subjects--Topical Terms:

2122736
Film studies.

Film noir and urban space.
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245 1 0 $a Film noir and urban space.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1992
300 $a 350 p.
500 $a Source: Dissertation Abstracts International, Volume: 53-07, Section: A, page: 2137.
502 $a Thesis (Ph.D.)--University of California, Santa Cruz, 1992.
520 $a This study explores film noir, a popular film cycle of the Hollywood cinema of the 1940s and 1950s, in relation to changes in American space after the Second World War. Its approach is broadly interdisciplinary and uses methodologies and critical theories drawn from film studies, geography, architectural history, urban planning, philosophy, sociology, and literary and cultural criticism. While many commentators have noted the setting of most films noir in the metropolis, the historical coincidence between the film cycle and profound transformations in postwar American spatiality has received little attention.
520 $a Utilizing ideas developed by the geographer Henri Lefebvre in his 1974 book, The Production of Space, this study develops a model to explain the dominant spatial features and transformations in American life of the 1940s and 1950s addressed directly and indirectly by the film noir cycle. Unlike thematic or literary approaches to these films, it suggests how urban renewal, highway construction, traffic congestion, suburbanization, and the feared loss of the city center can be understood as their historical content.
520 $a Borrowing Lefebvre's notions of spatial practice, representational space, and space of representation, it develops an opposition between centrifugal and centripetal spatial modes as a key tension in film noir. In Chapter 1, centripetal space, the traditional form of the metropolis, is characterized as possessing the attributes of centrality, verticality, contiguity, and as facilitating spatial practices of the pedestrian. In Chapter 3, centrifugal space, the form of outward growth, is distinguished by the increasing significance of the automobile, communication networks, speed, and the abstract space of representation of the highway.
520 $a Through close analyses of several representative films noir in Chapter 2 and Chapter 4, this study identifies the centripetal and centrifugal spatial modes as social and cultural consequences of modernism and postmodernism. It argues these modes of space are closely related and that they frequently prefigure and allude one another in both postwar space and the film noir.
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