Mark conard noir pdf

Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers.

Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity.

The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era.

Additionally, for those who come to this volume with some background in philosophy, not only will they be pleased to find fellow philosophers offering accessible introductions to philosophical thinkers and ideas but they are sure to increase their understanding of noir, Neo-Noir, and many familiar film titles, as well as more deeply appreciate the ways in which popular film and television offer wide and varied avenues to doing good philosophy.

Blessing, co-editor of Movies and the Meaning of Life. Strongly recommended. Taking up such latter-day classics as Chinatown , Blade Runner , and Memento , this volume explores how contemporary filmmakers have taken up the challenge of classic film noir and broadened the genre.

In this analysis, even the pastel shades of South Beach take on a dark coloring in Miami Vice. These probing essays locate what is neo in Neo-Noir and thus define it as a postmodern genre. Conard and his contributors see to it that these essays are accessible to nonacademic readers. The Philosophy of Popular Culture. Conard, Mark T. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility.

The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films.

The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits.

The neo-noir detective -- more antihero than hero -- is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self.

Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era.