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September 1993

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Subject:
From:
Rick Francis <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Tue, 14 Sep 1993 10:15:57 -0500
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Thanks to all who have responded to my query about roots of film noir.
I'm very happy to have more routes to pursue regarding American roots
in the 20s and 30s, and will do what I can to locate the films
mentioned by Brian Taves and others.  One result, though, is that I
haven't gotten around to cleaning up the promised syllabus.  In a week
or two I'll have one, and will post it and mail it to all who have
requested it.
 
The points made by Brian Taves about the shifts in the Hollywood
production system make a great deal of sense to me, and I have been
learning more about these recently.  Some books I have found useful:
 
Bordwell, David; Janet Staiger; and Kristin Thompson.  The Classical
Hollywood Cinema:  Film Style and Mode of Production to 1960.   New
York:  Columbia UP, 1985.    Parts 4, 5, and 6 give 100+ pages
regarding pre- and post-1930 style AND production systems.
 
Salt, Barry.  Film Style and Technology:  History and Analysis.
London:  Starword, 1983.  Impressive, concise, solid, clear
explanations of film style and technology, with chapters on the 30s
and 40s.
 
Shindler, Colin.  Hollywood Goes to War:  Films and American Society,
1939-1952.   London:  Routledge & Kegan Paul, 1979.  Light, witty, but
knowledgeable correlation of feature films to the cultural moment.  A
bit breezy and slapdash, but worth it for sheer entertainment.
 
As far as my original question (European roots of film noir), I've had
MUCH better luck by giving up on books or articles ostensibly about
film noir (though I'm still waiting to get some stuff through
interlibrary loan), and going instead to books on German, French,
Italian films of the 30s, and looking for chapters or sections with
titles like "The Legacy of Expressionism in Hollywood".  The ones I've
found just by browsing have yielded more explicit correlations and
connections than the usual superficialities about German soul and
French poetic realism.  I'll name names if anyone's interested.
 
I'm also waiting for some early American films (Leni's Cat and the Canary,
1927).  I didn't know Everson was working on a pre-noir book!  It's
certain to be an encyclopedia of films known to a few dozen people, owned
by few people except Everson -- but I don't mean that in any way except a
compliment!  I know someone who knows Everson well, and he thinks we
could get Everson to show some of his films here.  Brian, do you remember
how you heard about his book?
 
Rick Francis

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