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Analyse du genre cinématographique américain de la Blaxploitation, contraction de Black et d'exploitation, produit durant les années 1970, marketé et designé pour le public des Noirs, mettant en scène dans les rôles principaux des acteurs noirs. Ces films sont passés en revue avec leur sujet, leur intrigue et leurs acteurs.

African Americans in motion pictures --- Blaxploitation films --- Sensationalism in motion pictures --- Noirs américains au cinéma --- Cinéma noir américain --- Sensationalisme au cinéma

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Black & White & Noir explores America's pulp modernism through penetrating readings of the noir sensibility lurking in an eclectic array of media: Office of War Information photography, women's experimental films, and African-American novels, among others. It traces the dark edges of cultural detritus blowing across the postwar landscape, finding in pulp a political theory that helps explain America's fascination with lurid spectacles of crime. We are accustomed to thinking of noir as a film form popularized in movies like The Maltese Falcon, The Big Sleep, and, more recently, Quentin Tarantino's Pulp Fiction. But it is also, Paula Rabinowitz argues, an avenue of social and political expression. This book offers an unparalleled historical and theoretical overview of the noir shadows cast when the media's glare is focused on the unseen and the unseemly in our culture. Through far-ranging discussions of the Starr Report, movies such as Double Indemnity and The Big Heat, and figures as various as Barbara Stanwyck, Kenneth Fearing, and Richard Wright, Rabinowitz finds in film noir the representation of modern America's attempt to submerge and mask its violent history of racial and class anatagonisms. Black & White & Noir also explores the theory and practice of stilettos, the ways in which girls in the 1950s viewed film noir as a secret language about their mothers' pasts, the extraordinary tone-setting photographs of Esther Bubley, and the smutty aspect of social workers' case studies, among other unexpected twists and provocative turns.

Film noir --- Popular culture --- History and criticism --- History --- Sociology of culture --- Film --- United States --- Music, Dance, Drama & Film --- Cinéma noir --- Dark crime films --- Film noirs --- Films noirs --- Noir films --- Crime films --- United States of America

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Noir Affect proposes a new understanding of noir as defined by negative affect. This new understanding emphasizes that noir is, first and foremost, an affective disposition rather than a specific cycle of films or novels associated with a given time period or national tradition. Instead, the essays in Noir Affect trace noir’s negativity as it manifests in different national contexts from the United States to Mexico, France, and Japan and in a range of different media, including films, novels, video games, and manga. The forms of affect associated with noir are resolutely negative: These are narratives centered on loss, sadness, rage, shame, guilt, regret, anxiety, humiliation, resentment, resistance, and refusal. Moreover, noir often asks us to identify with those on the losing end of cultural narratives, especially the criminal, the lost, the compromised, the haunted, the unlucky, the cast-aside, and the erotically “perverse,” including those whose greatest erotic attachment is to death. Drawing on contemporary work in affect theory, while also re-orienting some of its core assumptions to address the resolutely negative affects narrated by noir, Noir Affect is invested in thinking through the material, bodily, social, and political–economic impact of the various forms noir affect takes. If much affect theory asks us to consider affect as a space of possibility and becoming, Noir Affect asks us to consider affect as also a site of repetition, dissolution, redundancy, unmaking, and decay. It also asks us to consider the way in which the affective dimensions of noir enable the staging of various forms of social antagonism, including those associated with racial, gendered, sexual, and economic inequality. Featuring an Afterword by the celebrated noir scholar Paula Rabinowitz and essays by an array of leading scholars, Noir Affect aims to fundamentally re-orient our understanding of noir.Contributors: Alexander Dunst, Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper, Ignacio Sánchez Prado, Brian Rejack, Pamela Thoma, Kirin Wachter-Grene

Film noir. --- Cinéma noir --- Dark crime films --- Film noirs --- Films noirs --- Noir films --- Crime films --- Affect. --- Film Noir. --- Negativity. --- Neoliberalism. --- Noir. --- Popular Culture. --- Psychoanalysis. --- Pulp literature. --- Video Games.

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Films noirs --- Film noir --- Histoire et critique --- History and criticism --- 791.43-1 --- #SBIB:309H1326 --- Cinéma noir --- Dark crime films --- Film noirs --- Noir films --- Crime films --- Filmkunst. Films. Cinema--?-1 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- 791.43-1 Filmkunst. Films. Cinema--?-1 --- Histoire et critique.

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This book argues that adaptation is an underrecognized yet constitutive element of Nordic noir. In so doing, it reframes the prevailing critical view. Now celebrated for its global sweep, Nordic noir is equally a transmedial phenomenon. Nordic Noir, Adaptation, Appropriation deploys the tools of current adaptation studies to undertake a wide-ranging transcultural, intermedial exploration, adding an important new layer to the rich scholarship that has arisen around Nordic noir in recent years.

Film adaptations --- Noir fiction --- Film noir --- Motion pictures. --- Film genres. --- History and criticism. --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Cinéma noir --- Dark crime films --- Film noirs --- Films noirs --- Noir films --- Crime films --- Detective and mystery stories --- Fiction --- Plots, themes, etc. --- History and criticism --- Adaptation Studies. --- Genre.