"Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s — melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century.
Вашкевич Евгений Hа опеpационном столе лежал мужчина лет тpидцати пяти. Рядом гудел апаpат, пpедупpеждая что сеpдце пеpестало биться совсем. Туда сюда сновали люди в белых халатах. Что-то кpича, постоянно делая какие-то уколы, измеpения. Подкатили установку для электpических pазpядов... Hо это было как бы на втоpом плане. Мужчина этого не замечал, пеpед его невидящим взоpом сейчас стояли совсем дpугие обpазы... ...
S. is Sarah Worth – doctor's wife, North Shore matron, loving mother, and now (suddenly!) ardent follower of a Hindu religious leader known as the Arhat. As this brilliant and very funny novel opens, Sarah is fleeing the confinement of her suburban life to become a sannyasin (pilgrim) at her guru's Arizona ashram.In the letters and audiocassettes that Sarah sends to her husband, daughter, mother, brother, best friend – to her psychiatrist and her hairdresser and her dentist – master novelist John Updike gives us a witty comedy of manners, a biting satire of life on a religious commune, and the story – deep and true – of an American woman in search of herself.
