FAV061 American film noir: historical and theoretical contexts of the genre

Faculty of Arts
Spring 2004
Extent and Intensity
2/0. 4 credit(s). Type of Completion: k (colloquium).
Teacher(s)
Mgr. Jakub Kučera (lecturer)
Guaranteed by
prof. PhDr. Jiří Voráč, Ph.D.
Department of Film Studies and Audiovisual Culture – Faculty of Arts
Timetable
Wed 15:00–16:35 12, Wed 16:40–18:15 12
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
fields of study / plans the course is directly associated with
there are 9 fields of study the course is directly associated with, display
Course objectives
This lecture is an attempt to demarcate the boundaries of (classical and post-classical) film noir in terms of film history and theory, and explore, as well as put in question its generic identity. Various contexts (the classical and post-classical Hollywood, the relations between Hollywood and Europe, film theories of "political modernism") of this "blurry object" of film history will be explored. Other related issues will be also taken into account, i.e. modernity, city, technology, gender. Literature: Clarke, David B. (ed.) /1997/: The Cinematic City. New York; Copjec, Joan /ed./1993/: Shades of Noir. London; Elsaesser, Thomas /2000/: Weimar cinema and after: Germany's historical imaginary. London; Gunning, Tom /2000/: The Films of Fritz Lang. Allegories of Vision and Modernity. London; Hirsch, Foster /1981/: The Dark Side of the Screen. New York; Hirsch, Foster /1999/: Detours and Lost Highways: A Map of Neo-Noir. New York; Kaplan, E.Ann, /ed./ 1980/ Women in Film Noir. London; Krutnik, Frank /1991/: In a Lonely Street: Film Noir, Genre, Masculinity. London; Martin, Richard /1997/: Mean Streets and Raging Bulls. The Legacy of Film Noir in Contemporary American Cinema. London; Narremore, James /1998/: More Than Noir: Film Noir in Its Contexts. Berkeley and Los Angeles; Sobchack, Vivian /1998/: Lounge Time: Postwar Crises and the Chronotope of Film Noir. In: Refiguring American Film Genres. History and Theory. Nick Brown, ed., London; Tellotte, J.P. /1989/ Voices in the Dark: The Narrative Patterns of Film Noir. Urbana. Films: Asfaltová džungle (Asphalt Jungle; John Huston, 1950); Bílý žár (White Heat; Raoul Walsh, 1949); Dáma v jezeře (Lady in the Lake; Robert Montgomery, 1947); Dáma ze Šanghaje (The Lady from Shanghai; Orson Welles, 1948); Odbočka (Detour; Edgar G. Ulmer, 1945); Dotek zla (Touch of Evil; Orson Welles, 1958); Key Largo (John Huston, 1948); Laura (Otto Preminger, 1944); Líbej mě až k smrti (Kiss Me Deadly; Robert Aldrich, 1955); Maltézský sokol (The Maltese Falcon; John Huston, 1941); Mildred Pierce (Michael Curtiz, 1945); Noc a město (Night and the City; Jules Dassin, 1950); Pojistka smrti (Double Indemnity; Billy Wilder, 1944); Pošťák vždycky zvoní dvakrát (The Postman Always Rings Twice; Tay Garnett, 1946); Pryč od minulosti (Out of the Past; Jacques Tourneur, 1947); Sunset Boulevard (Billy Wilder, 1950); Velké combo (The Big Combo; Joseph H. Lewis, 1955); Velký spánek (Big Sleep; Howard Hawks, 1946); Velký zátah (The Big Heat; Fritz Lang, 1953); Zabijáci (The Killers; Robert Siodmak, 1946); Zabíjej, má sladká (Murder, My Sweet; Edward Dmytryck, 1944); Žena za výkladem (The Woman in the Window; Fritz Lang, 1945). Assessment: essay.
Assessment methods (in Czech)
Povinně volitelná přednáška. Ukončení - kolokvium: esej.
Language of instruction
Czech
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