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  1. 2 Studia Filmoznawcze

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  1. 1 Rek J.

  2. 1 Syska S.

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  1. 2 2010

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O amerykańskim filmie noir raz jeszcze, czyli o skutkach rewizjonistycznej historii kina

100%
Rek J.
Studia Filmoznawcze
|
2010
|
vol. 31
291-301
EN
The review of the anthology The Philosophy of Film Noir, edited by Mark Conard and published by the University of Kentucky Press in 2006, presents most of the essays from the volume, summarizing and discussing the problems and ideas they raise, in order not only to publicize quite recent opinions and remarks of American film criticism on film noir, but also to contextualize them. What is worth emphasizing here is that they represent, on the one hand, the evidence of the revival of film history postulated by Thomas Elsaesser at the beginning of the 1990s and the decline, or the waning, as David Bordwell said a few years later, of Grand Theory, on the other hand. Constituting overtly the turn to history in cinema studies, they manifest another stage in the process of studying and analyzing film noir that has remained unabated since the late 1940s. The persistence of this critical activity that has resulted in quite large number of books, articles and essays on the subject published each year for decades, generates a question on whether such enduring appeal reveals something covertly related to the American Psyche.
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Panorama kontekstów amerykańskiego noir

86%
Syska S.
Studia Filmoznawcze
|
2010
|
vol. 31
23-51
EN
The author in this essay analyzes the phenomenon of American film noir, emphasizing the external, off-film contexts that influenced Hollywood in the forties. Syska describes political, ideological, social and cultural situation in this decade and shows how particular circumstances affected some films noir. Author does not limit his description to detective or gangster stories but also compares these classical noir films to other genres of the forties (e.g. war films, dramas, melodramas, spy films). Syska in first paragraphs defines phenomenon of film noir and describes its genealogy, as well as stresses its overgenre character. Afterwards author analyzes several crucial contexts of Hollywood films in the forties. He emphasizes literature background and shows differences between classical Victorian detective stories and modern American books. Later Syska describes the influence of World War II (Holocaust, feelings of German immigrants in USA, deep anxiety over Japan invasion) on Hollywood films. He also stresses the fear caused by nuclear weapon and communism expansion. Afterwards, the author writes about aesthetical context of American noir, highlighting the influence of German expressionism, French poetic realism, Italian neorealism as well as technical development in lighting and camera equipment. Next part of the essay is focused on psychoanalysis, existentialism and Marxism which affected the hopeless atmosphere of American noir and changed the conception of evil, undermined idea of American Dream and emphasized the role of coincidence. Finally, Syska describes the condition of Hollywood film companies and independent enterprises (e.g. Mark Hellinger films). Last paragraphs are focused on the end of classical film noir in the fifties and reinterpretation of it in counter-culture period.
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