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Genre/Form: | Criticism, interpretation, etc History |
---|---|
Additional Physical Format: | Online version: Cochran, David, 1961- America noir. Washington [D.C.] : Smithsonian Institution Press, ©2000 (OCoLC)607463963 |
Material Type: | Government publication, National government publication |
Document Type: | Book |
All Authors / Contributors: |
David Cochran |
ISBN: | 1560988134 9781560988137 9781588342188 1588342182 9781560989356 1560989351 |
OCLC Number: | 42289708 |
Description: | xiii, 280 pages ; 24 cm |
Contents: | Preface: Mapping the underground culture -- Introduction: Within the shell of the old: the creation of the Cold War consensus and the emergence of the underground culture -- Part One. The killer inside me: roman noir authors. Slipping deeper into hell: Jim Thompson's theology of absurdity -- "It's always for nothing": the paperback worldview of Charles Willeford -- Part Two. Progress and its discontents: Science fiction and fantasy authors. "I'm being ironic": imperialism, mass culture, and the fantastic world of Ray Bradbury -- The devil and Charles Beaumont -- Part Three. Outside looking in: Minority artists. "So much nonsense must make sense": the black vision of Chester Himes -- "Some torture that perversely eased": Patricia Highsmith and the everyday schizophrenia of American life -- Part Four. Little shop of horrors: Independent filmmakers. "Lots of socko": the independent cinematic vision of Samuel Fuller -- Roger Corman's low-budget modernism -- Part Five. Cracks in the consensus: Liberal artists. Richard Condon and the paranoid surreal style in American politics -- Another dimension: Rod Serling, consensus liberalism, and The Twilight Zone -- Conclusion: the emancipation of dissonance. |
Responsibility: | David Cochran. |
More information: |
Abstract:
"In America Noir David Cochran details how ten writers and filmmakers probed the Cold War's cultural contradictions and indirectly challenged its social pieties: the superiority of American democracy, the benevolence of free enterprise, and the sanctity of the suburban family." "Cochran argues that these artists pioneered a detached, ironic sensibility in fictions that radically juxtaposed cultural references and blurred the distinctions between "high" and "low" art. Their works would play a crucial role in the emergence of not only a 1960s counterculture but also the postmodernism of a later era."--Jacket.
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