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When Ridley Scott envisioned Blade Runner's set as "Hong Kong on a bad day," he nodded to the city's overcrowding as well as its widespread use of surveillance. But while Scott brought Hong Kong and surveillance into the global film repertoire, the city's own cinema has remained outside of the global surveillance discussion. In Arresting Cinema, Karen Fang delivers a unifying account of Hong Kong cinema that draws upon its renowned crime films and other unique genres to demonstrate Hong Kong's view of surveillance. She argues that Hong Kong's films display a tolerance of—and even opportunism towards—the soft cage of constant observation, unlike the fearful view prevalent in the West. However, many surveillance cinema studies focus solely on European and Hollywood films, discounting other artistic traditions and industrial circumstances. Hong Kong's films show a more crowded, increasingly economically stratified, and postnational world that nevertheless offers an aura of hopeful futurity. Only by exploring Hong Kong surveillance film can we begin to shape a truly global understanding of Hitchcock's "rear window ethics."
Surveillance in motion pictures. --- Crime films --- Motion pictures --- Criminal films --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- History.
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Investigating cinema under the magnifying glass From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown’s book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology. Instructor's Guide
Crime in popular culture. --- Criminology. --- Popular culture --- Crime --- Social sciences --- Criminals --- Study and teaching --- Crime films. --- Motion pictures --- Caper films --- Thrillers (Motion pictures) --- Criminal films
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Film noir was a cycle in American cinema which first came into prominence during World War II, peaked in the 1950s, and began to taper off as a definable trend by 1960. Over the years, a group of films from the period emerged as noir standards, beginning with Stranger on the Third Floor in 1940. However, since film noir is too wide-ranging, it cannot be kept within the narrow limits of the official canon that has been established by film historians. Consequently, several neglected movies made during the classic noir period need to be re-evaluated as noir films. In Out of the Shadows: Expanding.
Film noir --- Films noirs --- History and criticism. --- Histoire et critique --- Crime films --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures)
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Criminologist Nicole Rafter analyses the source of the appeal of crime films, and their role in popular culture. She argues that crime films both reflect and shape our ideas about fundamental social, economic and political issues.
Crime films --- Justice, Administration of, in motion pictures. --- Motion pictures --- Criminal films --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- Social aspects --- Gangster films --- Police films --- Prison films
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Film noir, which flourished in 1940s and 50s, reflected the struggles and sentiments of postwar America. Dennis Broe contends that the genre, with its emphasis on dark subject matter, paralleled the class conflict in labor and union movements that dominated the period.
Working class in motion pictures. --- Crime films --- Film noir --- Labor and laboring classes in motion pictures --- Motion pictures --- Criminal films --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- United States --- History and criticism --- Working class in motion pictures
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2019 CHOICE Outstanding Academic TitleThe early 1970s were a moment of transformation for both the American city and its cinema. As intensified suburbanization, racial division, deindustrialization, and decaying infrastructure cast the future of the city in doubt, detective films, blaxploitation, police procedurals, and heist films confronted spectators with contemporary scenes from urban streets. Welcome to Fear City argues that the location-shot crime films of the 1970s were part of a larger cultural ambivalence felt toward urban life, evident in popular magazines, architectural discourse, urban sociology, and visual culture. Yet they also helped to reinvigorate the city as a site of variegated experience and a positively disordered public life—in stark contrast to the socially homogenous and spatially ordered suburbs. Discussing the design of parking garages and street lighting, the dynamics of mugging, panoramas of ruin, and the optics of undercover police operations in such films as Klute, The French Connection, Detroit 9000, Death Wish, and The Taking of Pelham One Two Three, Nathan Holmes demonstrates that crime genres did not simply mirror urban settings and social realities, but actively produced and circulated new ideas about the shifting surfaces of public culture.
Cities and towns in motion pictures. --- City and town life in motion pictures. --- Crime films --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- United States --- Social life and customs --- In motion pictures.
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This book explores the formal and thematic conventions of crime film, the contexts in which these have flourished and their links with the social issues of a globalized world. The crime film has traditionally been identified with suspense, a heterogeneous aesthetic and a tacit social mind. However, a good number of the crime films produced since the early 2000s have shifted their focus from action or suspense and towards melodrama in narratives that highlight the social dimension of crime, intensifying their realist aesthetics and dwell on subjectivity. With the 1940s wave of Hollywood semi-documentary crime films and 1970s generic revisionism as antecedents, these crime films find inspiration in Hollywood cinema and constitute a transnational trend. With a close look at Steven Soderbergh’s Traffic (2000), David Fincher’s Zodiac (2007), Jacques Audiard’s Un prophète (2009) and Tomas Alfredson’s Tinker Tailor Soldier Spy (2011), this book sets out the stylistic and thematic conventions, contexts and cultural significance of a new transnational trend in crime film.
Crime films --- Culture --- Film genres. --- History and criticism. --- Study and teaching. --- Genre films --- Genres, Film --- Motion picture genres --- Cultural studies --- Criminal films --- Motion pictures --- Plots, themes, etc. --- Caper films --- Thrillers (Motion pictures) --- Motion pictures-History. --- Communication. --- Genre. --- Film History. --- Media Studies. --- Communication, Primitive --- Mass communication --- Sociology --- Motion pictures—History.
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This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.
Detective and mystery films --- Gangster films --- Police films --- Cop films --- Crime films --- Bandit gangster films --- Gang films --- Gangland films --- Hoodlum drama (Motion pictures) --- Mafia films --- Organized crime films --- Outlaw-couple films --- Outlaw gangster films --- Rural bandit films --- Syndicate films --- Syndicate-oriented films --- History and criticism. --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures)
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Detectives in literature. --- Detective and mystery stories --- Crime films --- Television crime shows --- Crime shows --- Crime television programs --- Criminal shows --- Criminal television programs --- Fiction television programs --- Thrillers (Television programs) --- Criminal films --- Motion pictures --- Caper films --- Thrillers (Motion pictures) --- History and criticism. --- History and criticism. --- History and criticism.
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The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and n
Film noir --- Motion picture producers and directors --- Motion picture actors and actresses --- Films noirs --- Producteurs et réalisateurs de cinéma --- Acteurs et actrices de cinéma --- Dictionaries --- Catalogs --- Dictionnaires anglais --- Catalogues --- Dictionnaires --- Crime films --- Producteurs et réalisateurs de cinéma --- Acteurs et actrices de cinéma --- Criminal films --- Cinéma noir --- Dark crime films --- Film noirs --- Noir films --- Motion pictures --- Caper films --- Thrillers (Motion pictures) --- Dictionaries. --- Catalogs.
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