This article make a question about neo-noir as a proper extension of classic film noir. Common view on decline of film noir in the end of 1950s often promotes an idea that later noir-films are kind of postmodern citation. Despite
producing noir films in 1960s and 1970s there is position that neo-noir is
a qualitatively differs from classic noir film. By the description of film noir
as a system of esthetic conventions we analyze similarities and differences of
noir with postmodern art. We consider that noir takes an intermediate position
between formal features of modern and postmodern art. As a permanent features
of noir we bring out three main theme – nostalgia as a base worldview, city
as a special medium, and hero as a split subject. Declare three main features
of noir`s esthetic we insist on the point of view that there is no valid ground
to strict divide between film noir, neo-noir and post-noir.
Artukh A. A. Nuar: golos iz proshlogo. Iskusstvo kino [Art of cinema], 2007,
no. 5, p. 93–101.
Dzhejmison F. Postmodernizm i obshhestvo potreblenija. Logos, 2000,
no. 4, p. 63–77.
Hassan I. Postmoderne heute. Wege aus der Moderne: Schlusseltexte der
Post-moderne. Diskussion. Berlin, 1994.
Kartsevа E. N. Legendi i realii. Istoria amerikanskogo ugolovnogo filma
[Legends and reality. History of American criminal film]. Moscow, Materik
Publ., 2004.
Lev P. The Fifties: Transforming the Screen. 1950–1959 (History of the
American Cinema). University of California Press, 2006.
Maye J., McDonnel B. Encyclopedia on Film Noir. London, Greenwood
Press, 2007.
To chto vi hoteli znat o Lakane, no boyalis sprosit u Hichkoka. S. Zhizhek
(ed.). Moscow, Logos Publ., 2004.
Yampolskiy M. Pamyat Tiresiya [Tiresias’s memory]. Moscow, Kultura
Publ., 1993.