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| 001 | 190972 | ||
| 003 | IT-RoAPU | ||
| 005 | 20250106150320.0 | ||
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| 008 | 240826t20042004mau fo d z eng d | ||
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_a9780674261587 _qPDF |
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| 024 | 7 |
_a10.4159/9780674261587 _2doi |
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| 035 | _a(DE-B1597)9780674261587 | ||
| 035 | _a(DE-B1597)589284 | ||
| 035 | _a(OCoLC)1294426346 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 050 | 4 |
_aPN1995.9.F54 _bD56 2004 |
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_aPER004030 _2bisacsh |
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| 082 | 0 | 4 |
_a791.43/6552 _222 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aDimendberg, Edward _eautore |
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| 245 | 1 | 0 |
_aFilm Noir and the Spaces of Modernity / _cEdward Dimendberg. |
| 264 | 1 |
_aCambridge, MA : _bHarvard University Press, _c[2004] |
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| 264 | 4 | _c2004 | |
| 300 | _a1 online resource (352 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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_atext file _bPDF _2rda |
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_tFrontmatter -- _tAcknowledgments -- _tContents -- _tIntroduction -- _t1 Naked cities -- _t2 Centripetal space -- _t3 Walking cures -- _t4 Centrifugal space The -- _t5 Simultaneity, the media environment, and the end of Film Noir -- _tNotes -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aFilm noir remains one of the most enduring legacies of 1940s and ’50s Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity—particularly the urban landscape.The originality of Dimendberg’s approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood’s dark thrillers of the postwar decades were determined by the same forces that shaped the city itself.Exploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture—and will captivate admirers of a vital period in American cinema. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Aug 2024) | |
| 650 | 0 |
_aFilm noir _zUnited States _xHistory and criticism. |
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| 650 | 7 |
_aPERFORMING ARTS / Film & Video / History & Criticism. _2bisacsh |
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| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.4159/9780674261587?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780674261587 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780674261587/original |
| 942 | _cEB | ||
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_c190972 _d190972 |
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