Containing more than 125 photos and a detailed filmography, this book illuminates a director who has finally come into his own.

An anthology on film noir, this book contains early writings on the genre as well as more recent literature, some published here for the first time. The book includes eight essays which classify and analyze the period and its product, case studies of individual films and filmakers, and new material which considers such issues as narrative structure, the femme fatale, the influence of film noir on early television, and the rebirth of the genre in the neo-noir films of more recent times.

The authors consider and analyse each picture in detail: its style and approach, plot, acting, cinematography, set design, special effects and finally its quality of achievement. Illustrated with over 200 photographs, many quite rare and never reprinted elsewhere, the book also features an enlarged and updated filmography, which becomes the most complete, accurate and fact-filled listing of vampire films ever published.

(Limelight). Generously includes film stills and essays on crime films, The Postman Always Rings Twice, "Hitchcock's Noir Landscape," "Samuel Fuller's Tabloid Cinema," "Son of Noir," "Noir Science," "Girl Power: Female Centered Neo-Noir," and "Abstract Expressionism and Film Noir."

Containing essays from the 1950s alongside contemporary writing, this reader explores the development of the genre of the horror film from the days of the silent movie, right up to the end of the 20th century with consideration of films such as Scream 3.

(Limelight). The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated...

In the 1930s the gangster film in the United States coincided with a very real and very sensational gangsterism at large in American society. Little Caesar (1931), The Public Enemy (1931), and Scarface (1932) borrowed liberally from the newspapers and books of the era. With the release of just these three motion pictures in barely more than a year's time, Hollywood quintessentially defined the genre. The characters, the situations, and the icons-from fast cars and tommy-guns to fancy fedoras and fancier molls-established the audience expectations associated with the gangster film that remain...

The third in the Film Noir series. Directors, producers and actors of film noir tell how it is done. Many film stills are included.