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This collection of essays by leading American film scholars charts a whole new territory in genre film criticism. Rather than assuming that genres are self-evident categories, the contributors offer innovative ways to think about types of films, and patterns within films, in a historical context. Challenging familiar attitudes, the essays offer new conceptual frameworks and a fresh look at how popular culture functions in American society. The range of essays is exceptional, from David J. Russell's insights into the horror genre to Carol J. Clover's provocative take on "trial films" to Leo Braudy's argument for the subject of nature as a genre. Also included are essays on melodrama, race, film noir, and the industrial context of genre production. The contributors confront the poststructuralist critique of genre head-on; together they are certain to shape future debates concerning the viability and vitality of genre in studying American cinema.

Film genres --- Film --- Music, Dance, Drama & Film --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc.

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Written in a clear, engaging, jargon-free style, this volume offers a cutting-edge theoretical overview of the topic of genre as practiced in British, American and French film criticism.

Film --- film --- filmtheorie --- filmgenres --- 791.41 --- Film genres. --- Film genres --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc.

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Film genres --- Music, Dance, Drama & Film --- Film --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc. --- Filmgenres --- Verenigde Staten.

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“Eamonn Jordan’s comprehensive exploration of how certain forms of justice, and its institutional enactment, figure in the many works of Martin McDonagh offers an invaluable critical guide to an oeuvre that engages deeply, and often enigmatically, with legal and philosophical questions.” - R. Barton Palmer, Professor of Literature at Clemson University and author or editor of notable books including After Hitchcock: Influence, Imitation, and Intertextuality (2006). This book interrogates the various manifestations of rival systems of justice in the plays and films of Martin McDonagh, in analysis informed by the critical writings of Michael J. Sandel, Steven Pinker, Julia Kristeva, and in particular Amartya Sen on violence, justice, equality and the law. In McDonagh’s works, failures to investigate adequately criminal actions are matched by multiple forced confessions and umpteen miscarriages of justice. The author explores McDonagh’s creative worlds as ones where distinctions between victim and perpetrator and guilt and innocence are precarious, where the burden of truth seldom reaches the threshold of beyond reasonable doubt and where the punishments and rewards of justice are applied randomly. This project considers the abject nature of justice in McDonagh’s writing, with the vast implications of justice being fragile, suspect, piecemeal, deviant, haphazard and random. Tentative forms of justice are tempered and then threatened by provocative, anarchic and abject humour. As the author argues, McDonagh’s writing cleverly circulates rival, incompatible and comparative systems of justice in order to substantiate the necessities and virtues of justice.

Justice in literature. --- Motion pictures—Production and direction. --- British literature. --- Film genres. --- Directing. --- British and Irish Literature. --- Genre. --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc.

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Neo-Noir as Post-Classical Hollywood Cinema suggests the terms “noir” and “neo-noir” have been rendered almost meaningless by overuse. The book seeks to re-establish a purpose for neo-noir films and re-consider the organization of 60 years of neo-noir films. Using the notion of post-classical, the book establishes how neo-noir breaks into many movements, some based on time and others based on thematic similarities. The combined movements then form a mosaic of neo-noir. The time-based movements examine Transitional Noir (1960s-early 1970s), Hollywood Renaissance Noir in the 1970s, Eighties Noir, Nineties Noir, and Digital Noir of the 2000s. The thematic movements explore Nostalgia Noir, Hybrid Noir, and Remake and Homage Noir. Academics as well as film buffs will find this book appealing as it deconstructs popular films and places them within new contexts.

Film noir --- History and criticism. --- Film genres. --- Motion pictures—United States. --- Genre. --- American Cinema and TV. --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc. --- Film noir. --- United States.