MENU   

Fatalism in American Film Noir

Some Cinematic Philosophy

by

Type
Essays
Subject
Genre
Keywords
film noir, philosophy, characters
Publishing date
Publisher
University of Virginia Press
Collection
Page-Barbour Lectures
Language
English
Size of a pocketbookRelative size of this bookSize of a large book
Relative size
Physical desc.
Paperback156 pages
5 ½ x 8 ½ inches (14 x 21.5 cm)
ISBN
978-0-8139-3402-0
User Ratings
no rating (0 vote)

Average rating: no rating

0 rating 1 star = We can do without
0 rating 2 stars = Good book
0 rating 3 stars = Excellent book
0 rating 4 stars = Unique / a reference

Your rating: -

Book Presentation:
The crime melodramas of the 1940s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales. In this book Robert Pippin argues that many of these films also raise distinctly philosophical questions. Where most Hollywood films of that era featured reflective individuals living with purpose, taking action and effecting desired consequences, the typical noir protagonist deliberates and plans, only to be confronted by the irrelevance of such deliberation and by results that contrast sharply, often tragically, with his or her intentions or true commitments. Pippin shows how this terrible disconnect sheds light on one of the central issues in modern philosophy--the nature of human agency. How do we distinguish what people do from what merely happens to them? Looking at several film noirs--including close readings of three classics of the genre, Fritz Lang’s Scarlet Street, Orson Welles’s The Lady from Shanghai, and Jacques Tourneur’s Out of the Past--Pippin reveals the ways in which these works explore the declining credibility of individuals as causal centers of agency, and how we live with the acknowledgment of such limitations.

About the Author:
Robert B. Pippin is Evelyn Stefansson Nef Distinguished Service Professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College, at the University of Chicago. He is the author, most recently, of Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy.

See the

> From the same author:

Robert Bresson:Cinematic Style as Philosophy

(2026)

Cinematic Style as Philosophy

by

Subject: Director >

Douglas Sirk:Filmmaker and Philosopher

(2021)

Filmmaker and Philosopher

by

Subject: Director >

Filmed Thought:Cinema as Reflective Form

(2019)

Cinema as Reflective Form

by

Subject:

The Philosophical Hitchcock:Vertigo and the Anxieties of Unknowingness

(2019)

Vertigo and the Anxieties of Unknowingness

by

Subject: One Film >

Hollywood Westerns and American Myth:The Importance of Howard Hawks and John Ford for Political Philosophy

(2012)

The Importance of Howard Hawks and John Ford for Political Philosophy

by

Subject: Genre >

> On a related topic:

The Dark Interval:Film Noir, Iconography, and Affect

(2023)

Film Noir, Iconography, and Affect

by

Subject: Genre >

Out of the Past:Lacan and Film Noir

(2018)

Lacan and Film Noir

by

Subject: Genre >

I Died a Million Times:Gangster Noir in Midcentury America

(2021)

Gangster Noir in Midcentury America

by

Subject: Genre >

Nightmare Alley:Film Noir and the American Dream

(2013)

Film Noir and the American Dream

by

Subject: Genre >

Unless the Threat of Death Is Behind Them:Hard-Boiled Fiction and Film Noir

(2008)

Hard-Boiled Fiction and Film Noir

by

Subject: Genre >

17082 books listed   •   (c)2024-2026 cinemabooks.info   •  
Books in French are on www.livres-cinema.info