Thesis (M.A.)--University of Nevada, Reno, 2005. / "May 2005." Includes bibliographical references (leaves 72-75). Online version available on the World Wide Web.

Le matériaux polymère : de l'isolant au conducteur thermique.

Le matériaux polymère : de l'isolant au conducteur thermique.

The central goal of this thesis is to resituate the development of film noir within the context of the Hollywood studio system that created it. I argue that under the ‘factory’ conditions of the studio’s working environment, a distaste fermented from the screenwriter class that burrowed in the pulp fiction, particularly hard-boiled mystery fiction, of the era. This strain of literature was eventually coupled with the panache of Hollywood style to form a filmic style which was noteworthy for its ability to use Hollywood stylistics to screen a vision of life that was antithetical to that which the studio system wanted to offer to the mass public. I have also attempted to situate the original and most crystallized noir moment in the mid-1940s as part of the continuum of American cinema where the stylistic traces of noir were present prior to that period, and certainly after, but never more coherently than at that moment in the 1940s. I have assembled sources ranging from published interview collections, memoirs, biographies, film criticism and archival collections to develop my argument about the literary, filmic and cultural evolution of film noir in Hollywood.

American film parody can be characterized as a distorted, comical and yet affectionate imitation of a given genre or specific work. Film noir as a genre with its distinct visual styles has been an easy target for such "creative criticism." Mel Brooks, famous for his series of successful parody films, has exhorted that the situation alone must be absurd while the actors must be serious, not funny to make a comedy funnier. He also said that funny is in the writing and not in the performance itself. Film noir through its unconventional visual styles and convoluted story lines engenders feelings of anxiety and paranoia in the audience, providing rich fodder for parody. The animated theatrical series Looney Tunes with its trademark slapstick style is well suited for making serious situations look absurd, affording "creative criticism". In this thesis I first analyze canonical examples to distill the distinct visual characteristics of these two different genres. I then employ the use of parody to bring together a few salient visual elements from each of these genres, thus enabling computer-generated visual parody. Finally, still image examples of such parody are produced by systematically combining visual elements from the two distinct genres, film noir for its expressionistic lighting and elliptical compositional elements, and Looney Tunes for its mischievous mise-en-scene and ingenuous characters.

Texte remanié de: Dissertation--Philosophische Fakultät--Universität zu Köln, 2006. / Bibliogr. p. 325-346.

Thèse de doctorat : Langue vivante d'anglais : Tours : 2008. / Titre provenant de l'écran-titre.

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No description available.

The central goal of this thesis is to resituate the development of film noir within the context of the Hollywood studio system that created it. I argue that under the ‘factory’ conditions of the studio’s working environment, a distaste fermented from the screenwriter class that burrowed in the pulp fiction, particularly hard-boiled mystery fiction, of the era. This strain of literature was eventually coupled with the panache of Hollywood style to form a filmic style which was noteworthy for its ability to use Hollywood stylistics to screen a vision of life that was antithetical to that which the studio system wanted to offer to the mass public. I have also attempted to situate the original and most crystallized noir moment in the mid-1940s as part of the continuum of American cinema where the stylistic traces of noir were present prior to that period, and certainly after, but never more coherently than at that moment in the 1940s. I have assembled sources ranging from published interview collections, memoirs, biographies, film criticism and archival collections to develop my argument about the literary, filmic and cultural evolution of film noir in Hollywood.