Film 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 post-war 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 analysing 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.
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不得不说，真的是让人眼前一亮的研究啊（的确我们已经受够了精神分析）。把noir cycle看作一个amalgam of diverse historical and cultural elements而不仅仅是genre or movement（与早期detective film区别开来）。承Levebvre的abstract space与Baudrillard的simulation展开对postwar urbanism在noir中呈现的讨论 （比如layout和city density如何影响了cinematic language和narrative）。
评分乱乱的，最后也没良好的总结论点。
评分乱乱的，最后也没良好的总结论点。
评分乱乱的，最后也没良好的总结论点。
评分乱乱的，最后也没良好的总结论点。
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