中南民族大学图书馆书目检索系统

Online Public Access Catalogue

题名/责任者:

Noir fiction and film : diversions and misdirections / Lee Clark Mitchell.

出版发行项:

Oxford ; New York, NY : Oxford University Press, 2021.

ISBN:

0192844768

ISBN:

9780192844767

载体形态项:

viii, 243 pages : illustrations ; 24 cm.

个人责任者:

Mitchell, Lee Clark, 1947- author.

论题主题:

Detective and mystery stories-History and criticism.

论题主题:

Detective and mystery films-History and criticism.

论题主题:

Noir fiction-History and criticism.

论题主题:

Film noir-History and criticism.

论题主题:

Detective and mystery films.

论题主题:

Detective and mystery stories.

论题主题:

Film noir.

论题主题:

Noir fiction.

体裁索引词:

Criticism, interpretation, etc.

中图法分类号:

I712.074

中图法分类号:

J905.712

书目附注:

Includes bibliographical references (pages [225]-235) and index.

摘要附注:

The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre. Among these are aimless descriptions of people and places irrelevant to plot, along with detectives consisting of little more than sparkling dialogue and flippant attitudes. What weaves together such features, however, seems to be a paradox: that a genre rooted in solving a mystery, structured around the gathering of clues, must do so by misdirecting our attention, even withholding information we think we need to generate the suspense we also desire. Yet successful noir stories and films enhance that suspense through passing diversions (descriptive details and eccentric perspectives) rather than depending on the center pieces of plot alone (suspected motives or incriminating traces). As the greatest practitioners of the genre have realized, the "how" of detective fiction (its stylistic detours) draws us in more insistently than the "what" or the "who" (its linear advance). And the achievement of recent film noir is to make that "how" become the tantalizing object of our entire attention, shorn of any pretense of reading for the plot, immersing us in the diversionary delight that has animated the genre from the beginning.

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