Snap Me Deadly: Reading the Still Photograph in Film Noir
2002; American studies; Volume: 43; Issue: 2 Linguagem: Inglês
ISSN
2153-6856
AutoresNancy Martha West, Penelope Pelizzon,
Tópico(s)Cinema and Media Studies
ResumoPhotography appears everywhere in film noir, its stunning range of technologies matched by the frequency with which photographic images crop up as plot devices in well-known films such as Shadow of a Doubt (1942), Murder, My Sweet (1944), The Big Sleep (1946), and Call Northside 777 (1948) and in less-familiar pictures, including / Wake up Screaming (1942), Nocturne (1946), The Brasher Doubloon (1947), and Beware, My Lovely (1952). The impressive volume of these titles is matched, moreover, by the multiplicity of photographic practices film noir spotlights, including photojournalism, courtroom procedure, forensics, publicity photos, glamour shots, X-rays, snapshots, pornography, and military observation. These films, and their interest in particular photographic genres and practices, are part of what we describe as film noir's photographic
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