Film noir has always been associated with urban landscapes, and no two cities have been represented more prominently in these films than New York and Los Angeles. In noir and neo-noir films since the 1940s, both cities are ominous locales where ruthless ambition, destructive impulses, and dashed hopes are played out against backdrops indifferent to human dramas.
The voice and the city: mapping Los Angeles across the airwaves in noir and neo-noir
págs. 3-18
págs. 10-26
págs. 19-33
Living the Neo-Noir autopia: cultural spaces of Los Angeles in drive and nighcrawler
págs. 35-51
Post-western, Neo-Noir los Angeles: Rampart and the legacy of the American settlement narrative
págs. 53-70
Two frenchmen in New York: Melville's Noir Manhattan
págs. 73-87
Traces of Noir: Neo-Modernist revisionism and the vernacular cityscape in Jacques Deray's The Outside man (1972)
págs. 89-103
"Black enough for you?": Cotton cames to Harlem (1970) and the cinematic Harlem
págs. 105-124
Detecting black: urban African American noir
págs. 125-140
"Is it beautiful? Or is it ugly?": the Noir tradition, urban affect, and the monstrosity of Los Angeles in The Wizard of Gore
págs. 143-155
The dysfunctional city: urban malaise in Los Angeles during the 1940s through the Lens of Film Noir
págs. 157-173
Desperately seeking something wild: The New York Neo-Noir/Screwball comedy fusion films of the Mid-1980s
págs. 175-195
Cinematic representations of 1970s/1980s New York: the post-Giuliani/post-Bloomberg city seen through a backward lens
págs. 197-218
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