Sentences with phrase «american noir»

RADIANT PRESENCE some thoughts / for you American Noir: Into a Dark Past Borders / Crossings i am anyone Treat My Words Writing Pictures Salute Looking Up Lyrics Dream Home Heartache Energy Between Ten Compassion, Responsibility and Independence A Tour In L.G.B.T. Land For Pride Month Untitled (All Over The Place) Intimately Acquainted Share Your Vision The Pride Show The Presence of Absence I Smell Sex Beyond Boundaries On Collecting... Hot DAM!

In the world of American noir, every picture has a story attached.

As I looked at the works I'd chosen, it was obvious that one distinct part of my sensibility had come into play — a part I'll call American noir.

With this in mind, let me evoke the American noir sensibility through the contemporary notion of key words (here grouped for poetic effect): Contorted Narrative Alienation / Distant Blue Darkness / Dramatic Adjectival Allure / Visceral Black & Blue Bruises / Pleasureless Expressionist Stiletto / Awkward Lone Gothic / Unforgiven Repressed Revulsion / Strangled Outsider Vernacular.

Towards an AIDS Archive outsider blackness American Noir: Into a Dark Past The Multitudes of Frank Moore Overnight Wave (For Arthur) Jungle Pussy The Infidels» Hallelujah Take With Food Burning The Candle at Both Ends Art, AIDS and Activism Mythologies Salute Red, White & Blue I'm Not Mad at You, I'm Mad at the Dirt Eclipse Vital Signs The Male Gaze Night Work Eleven Artists Particular Insight Immortality...

Fashion, Fantasy, and Freedom Sampling the Self Radiant Presence: Self - Portraits from the Registry RADIANT PRESENCE Viral Images some thoughts / for you American Noir: Into a Dark Past Notes on a Steady Decline If You Didn't Laugh, You'd Cry Escape, Visual AIDS Redux Marching AIDS Heroic Alien Architecture Energy On The Road — A Tribute To The Campaign To End AIDS It's A Rough World, How's Your Armor?

Unconditional Love FIRING THE CANON Tongues Untied Blue Bathroom Blues Set for Frederick Weston FIELD RECORDINGS: Notes from the West Goodbye To All That Fashion, Fantasy, and Freedom Almost Beautiful Enough I Am My Own Landscape some thoughts / for you IT FEELS LIKE LOVE BUT IT»S THE DRUGS American Noir: Into a Dark Past No Wasted Words, No Illusions Why Do You Insist on Flaunting?

Unconditional Love Tongues Untied 2016, 1996 INTERTEXT Viral Images Arroz Con Mango: Life Through Cuban Eyes Party Out Of Bounds Expanded Here and Not Here: Some things I can't say to your face I Am My Own Landscape WAR American Noir: Into a Dark Past < body > and the notes Notes on a Steady Decline Ciao For Peter Hujar OSC: Obsessive Sex Collecting Light Itself A Visual Decameron Warrior Liminal: Subliminal: Sublime In the Flesh I Heart Douchebags Militancy and Mourning Linear Progression / Progressive Deterioration The Sublime Order Looking Up Lyrics You're My New Orleans I'm Not Mad at You, I'm Mad at the Dirt Eclipse Energy Crossing The Line Going Within Eleven Artists Intimately Acquainted Particular Insight American Archetypes My Brother Per Ora: Consuming Desire Revolutions Per Minute The Presence of Absence Time & Place I Smell Sex Beyond Boundaries Fugitive, or From here to there and back again

Transcend and Transform Unconditional Love IF YOU DO N'T SCREAM, IT»S BECAUSE YOU»RE DEAD VOICE = SURVIVAL EXPANDED Towards an AIDS Archive Vignettes and Monotony Tongues Untied Archival Pleasures Almost Beautiful Enough Sorrow's Swing: Learning the Choreography of AIDS Sampling the Self Radiant Presence: Self - Portraits from the Registry RADIANT PRESENCE Viral Images David Meet David and other friends The Circle Won't Be Broken 1989 — What We Lost Secretly, Frequently (Cowboy Drag) Eyes, Lilacs & Spunk: Queer Aesthetic from Suggestion into Abstraction Here and Not Here: Some things I can't say to your face I Am My Own Landscape WAR IT FEELS LIKE LOVE BUT IT»S THE DRUGS American Noir: Into a Dark Past < body > and the notes Longing for Time No Wasted Words, No Illusions If You Didn't Laugh, You'd Cry Ciao For Peter Hujar Personal, Jesus Why Do You Insist on Flaunting?

Towards an AIDS Archive Stay Afloat Choosing Joy Party Out Of Bounds Expanded 1989 — What We Lost Here and Not Here: Some things I can't say to your face I Am My Own Landscape some thoughts / for you American Noir: Into a Dark Past WHAT»S IN YOUR CLOSET?

I wanted body as form and vice versa Secretly, Frequently (Cowboy Drag) American Noir: Into a Dark Past No Wasted Words, No Illusions Eclipse Pyrolysis Stirrings

Described as a toxic shock of a thriller, this bijou slice of American noir, delivers a real punch to the reader, and I was mightily impressed how much well defined characterisation, and breadth of action, Ames crams into such a minimal page count.

We're giving away autographed copies of Crooked Letter, Crooked Letter and The Best American Noir of the Century edited by James Ellroy and Otto Penzler, which includes stories by Harlan Ellison, Dennis Lehane, Elmore Leonard... and Tom Franklin, who signed the book.

But the most popular acclaim was reserved for the superb American noir «Three Billboards Outside Ebbing, Missouri,» the third and finest feature from the English writer - director Martin McDonagh («In Bruges,» «Seven Psychopaths»), which was announced on Sunday as the winner of the festival's coveted People's Choice Award.

She obviously made an impression on Ryan Gosling because, at his bidding, she got the job to design Drive, Nicolas Winding Refn's new Gosling vehicle — one of the most visually - exciting American noirs you're ever likely to see...

Not exact matches

Drought Is Bearing Fruit for Washington Wineries: American wine, for all the hype and hyperbole in recent years about Idaho rieslings or Pennsylvania pinot noirs, is still overwhelmingly a California thing...

Origin: A mutation of Pinot Noir, which it resembles in the field, Pinot Grigio is the Italian white wine most recognized by American wine consumers.

Order the: BUMO, a (very) limited pinot noir - saison blend that's as hard to find as it is to stop sipping; or one of the latest in the brewery's aromatic American Pale Ale series.

Tomorrow's films (free, but first come, first served) are Paris Noir, a documentary on black American poets, writers, artists and others living in Paris in the 1920s and»30s, and When Voice Rise, a documentary on desegregation in 1950s Bermuda.

David Sims also captures Edie Campbell in Le soleil noir de Marc Jacobs, a fashion spread for which the model was dressed only in pieces from the American designer's last collection at Louis Vuitton.

Dress: Free People (old)-- Free People Dress Shop / Headpiece: American Eagle / Flops: Havaianas / Sari Bag: Uncommon Goods / Bracelets: Uncommon Goods and Guilty Jean / Necklace: Guilty Jean / Watch: Coach / Elephant Ring: nOir / Lip: MAC Up the Amp / Nails: Essie Naughty Nautical

Sunset Boulevard (stylized onscreen as SUNSET BLVD.) is a 1950 American film noir directed and co-written by Billy Wilder, and produced and co-written by After the war, the building was essentially a ruin.

Unoriginal but entertaining minor Euro crime drama that mixes American film noir and Italian neorealism.

Scorsese and Schrader structure Travis» mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings.

Her first American film was WILLOW for George Lucas and directed by Ron Howard, followed by the noir film KILL ME AGAIN for John Dahl, NAVY SEALS with Charlie Sheen, SHATTERED with Tom Berenger, THE GUILTY with Bill Pullman, THE MAN WHO KNEW TOO LITTLE with Bill Murray, and A TEXAS FUNERAL with Martin Sheen.

DICK DINMAN & EDDIE MULLER DISPENSE A DOUBLE DOSE OF DANA: The Warner Archive has just released on Blu - ray legendary director Fritz Lang's last two American - made edge - of - your - seat thrillers WHILE THE CITY SLEEPS and BEYOND A REASONABLE DOUBT in their original wide screen SuperScope incarnations and popular film noir author and TCM host Eddie Muller rejoins producer / host Dick Dinman as they both salute the unjustly underrated star of both films, Dana Andrews.

Though well acted and beautifully crafted, «Devil in a Blue Dress» falls short of being something special because, although the concept of an African American film noir is commendably original and the background climate - of racial prejudice and the post-WWII hangover in L.A. - is fascinating, the actual mystery is pretty run - of - the - mill.

And rightly so as film noir marks a distinct period in American filmmaking that has its own visual flair and unique tendencies.

A meticulous maker of charged pop - noir images, he followed the revered Drive (2011) with the despised Only God Forgives (2013), which posited him as a less obscene Scandi - American equivalent of the French provocateur Gaspar Noé (in Enter the Void mode).

Trixie doesn't have this sort of range, and due to its self - conscious, stylish 40s - noir references, it can't function very clearly — as Breakfast of Champions does — as a commentary on contemporary American life.

The first of these components is Walter Mosley's original novel which transplants traditional noir archetypes from a strictly urban environment to the African American middle - class.

Anthony Mann's T - Men (1947) is a significant entry in the classic American film noir cycle and, arguably, the best of the subcycle of «docu - noirs» that was released by Hollywood in the wake of the...

Panel guests include Jimmy Palmiotti (Jonah Hex), co-creator and co-writer of Time Bomb; Rick Remender (Punisher), creator and writer for The Last Days of American Crime, soon to be a major motion picture produced by and starring Avatar's Sam Worthington; Peter Milligan (Hellblazer), writer for After Dark, co-created by director Antoine Fuqua and Wesley Snipes; Arvid Nelson (Rex Mundi), writer for the upcoming Oblivion from Tron Legacy director Joseph Kosinski; Nick Percival (Judge Dredd), creator and artist for Legends, soon to be a major motion picture from Ron Howard's Imagine Entertainment; David Hine (Spider - Man Noir), writer of Ryder on the Storm and FVZA; Matthew Cirulnick (True Crime: New York City), creator and co-writer for Earp: Saints for Sinners; and Keith Arem (Call of Duty series), one of the gaming industry's leading director / producers as well as co-creator for the upcoming Exile.

Rita Hayworth is at her most iconic as the forties sex - bomb in Gilda (Criterion, Blu - ray, DVD), a 1946 film noir classic co-starring Glenn Ford as Johnny Farrell, an American tough guy in Buenos Aires, and George Macready as Ballin Mundson, the owner of a nightclub and illegal casino who hires Johnny as his club manager.

It's a film entirely of the seventies New American Cinema in that way — a noir - cycle picture that shares a good deal with its Yankee contemporary Chinatown (also 1974).

The source material is a book, then unpublished, by Barry Gifford — the first in a series of road - noir novels he wrote about two horny star - crossed lovers, crisscrossing the American Southwest.

As well as the murkier corners of classic film noir, Boorman drew inspiration from art photography and the French New Wave, including Jean - Luc Godard's Breathless, which was itself «speaking back» to American crime movies.

One of noir master Fritz Lang's last American films and another of his anti-capital punishment stories, but with an unusual twist.

I didn't mean that I hope there's a wave of remakes, just that there might be an interest in classic American genres like film noir and the western once again.

From Georges Bizet's great, tuneful, massively popular opera, based on Prosper Merimee's novel about a lusty cigarette girl and the soldier who is obsessed with her, unwisely: A compelling noir musical, with an African - American cast (headed by Dorothy Dandridge as femme fatale Carmen and Harry Belafonte as soldier Joe), lyrics and libretto by Oscar Hammerstein II, and direction by Otto Preminger.

Logan Noir opens in select North American theaters Tuesday, and will be included in the May 23 Blu - Ray and 4K Ultra HD home video editions of Logan.

This is a mile marker along the slow evolution of noir from the mystery blacks of its nascence to the deep reds of its New American Cinema renaissance.

It's directed by Robert Siodmak, who made more film noirs than any other director, and it is one of his darkest, a gangster drama seeped in shadows, corruption, and psychosis, with Victor Mature (in what I believe is his best noir role) a as Lt. Candella, an Italian - American police detective who takes the pursuit of small - time gangster Martin Rome (Richard Conte) personally.

The picture has a framing story and a movie - long narration, two more ingredients in the neo - noir / American Gothic stew that Eastwood has continued to perpetuate long after his twin Americana triumphs A Perfect World and Unforgiven rendered the conversation — at least inasmuch as Eastwood is capable of carrying it — moot.

Despite the contribution of such American voices as Orson Welles, John Huston, Jules Dassin, and Howard Hawks, the art of noir was established by silent legends F.W. Murnau and Robert Wiene (Germany), G.W. Pabst (Austria), and others.

He was also a devotee of American action cinema, of film noir and of American Westerns, especially the films of his friend and mentor John Ford.

American critics did not come around until the early 1970s, particularly after the publication of Paul Schrader's essay in Film Comment «Notes on Film Noir,» in which he anatomized «the new mood of cynicism, pessimism, and darkness which had crept into the American cinema» after the war.

In this period, he tackled an Oscar - winning drama about alcoholism (The Lost Weekend), two well - regarded film noirs (Double Indemnity, Sunset Boulevard), a war drama (Stalag 17), two light - hearted rom - coms (Sabrina, Seven Year Itch) a gripping murder - mystery (Witness for the Prosecution) and perhaps the funniest American movie of all time (Some Like It Hot).

Scholars in Europe began to embrace the term in 1955, when Raymond Borde and Étienne Chaumeton, in their book Panorama du film noir américain, used it more broadly to describe the wave of American crime films after World War II that, among many other attributes, featured insulted, beaten heroes driven by desperation to acts of violence.

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.