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The Philosophy of Neo-Noir (Philosophy Of Popular Culture ~ The Philosophy of Neo-Noir (Philosophy Of Popular Culture) Paperback – February 20, 2009 by Mark T. Conard Ph.D. (Author) 4.8 out of 5 stars 11 ratings
The Philosophy of Neo-Noir (The Philosophy of Popular Culture) ~ The Philosophy of Neo-Noir (The Philosophy of Popular Culture) Mark T. Conard Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light.
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The Philosophy of Neo-Noir (The Philosophy of Popular Culture) ~ e Philosophy of Neo-Noir T P P C e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through .
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The Philosophy of Neo-Noir (Philosophy Of Popular Culture ~ 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.
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"The Philosophy of Neo-Noir" by Mark T. Conard ~ Mark T. Conard, assistant professor of philosophy at Marymount Manhattan College in New York City, is the editor or coeditor of many books, including The Philosophy of Film Noir and The Philosophy of Martin Scorsese. "Conard can fell confident that these terrific essays will be of interest to film enthusiasts, particularly fans of Neo-Noir.
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The philosophy of neo-noir (eBook, 2007) [WorldCat] ~ Get this from a library! The philosophy of neo-noir. [Mark T Conard;] -- Film noir--a cycle of American films from the 1940s and '50s--is characterized not only by a constant opposition of light and shadow and a disruptive compositional balance of frames and scenes, but .
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