>
>
> So what am I looking for?  I'm looking for more than a superficial list of
> names or supposed expressionist devices using low-light etc.  Can anyone
> suggest a book, chapter, or article which gives a closer analysis of
> historical-technical links?  The development of depth focus from Renoir to
> Toland in Citizen Kane is a pretty good example of what I mean, and Marsha
> Kinder's explanation in _Close-Up_ is good for a 3rd year class
>
> At this point I plan to use excerpts from some late 30s & early 40s French
> films (Renoir, Carne'), and Visconti's _Ossessione_ in comparison with the
> 1946 _Postman Always Rings Twice_.  I might use early examples of Italian
> neo-realism (Rossellini) too.
>
> Vernet cites some film from 1932 (I think) called "Private Detective 62" that
> has all the noir elements. You might want to check that one out.
>
> Anyone interested in my tentative syllabus is welcome to request it.
> Suggestions appreciated.  Absolute latest film date will be 1952, maybe
> even earlier.  I want to focus almost exclusively on American 40s, with
> European stuff used to understand origins, and similarities in different
> cultural contexts.
>
> Please pass it along.
>
> Daniel Case                     State University of New York At Buffalo
>         "Hey, you can't fight in here! This is the war room!"-Dr. Strangelove
>                         [log in to unmask]
>                         Prodigy: WDNS15D GEnie: DCASE.10
>
 
I would suggest that you look at E. Ann Kaplan's book, _Women in Film Noir_,
British Film Institute, 1978.
 
If you are looking for a different take on film noir, then this is it.
 
Also, since you are in
Buffalo, you may want to get in contact with Bart Testa, at the University of
Toronto, (416) 978-8574.  He has many different takes on Film Noir.  Finally I
would also suggest David Bordwell's _Narration in the Fiction Film_ Chapter 5,
"sin, Murder and Narration" University Of Wisconsin Press, madison Wisconsin.
1985.  ISBN0-299-10170-3
 
By the way, do you have Paul Sharits for any classes? He's one hell'uv a crazy
filmmaker ,that as far as I am concerned, makes the best flicker films
around, even better than Brackage (sorry Stan).
 
Joey Schwartz
Cinema Studies, University of Toronto
 
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