the philosophy of film noir

Critics tend to identify the classic noir period as falling between 1941 and 1958, beginning with The Maltese Falcon and ending with Touch of Evil. The classic film noir is easily identifiable by its unusual lighting, with the constant opposition of light and shadow; its oblique camera angles; and its disruptive compositional balance of frames and scenes. But besides these technical signifiers, there are a number of themes that characterize the film noir, such as the inversion of traditional values and the corresponding moral ambivalence; the feeling of alienation, paranoia, and pessimism; crime and violence; and the disorientation of the spectator. Some paradigmatic examples of classic films noir are Double Indemnity (1944), The Postman Always Rings Twice (1946), The Big Sleep (1946), and Out of the Past (1947).

The Philosophy of Film Noir contains 13 essays and it investigates the philosophical themes and underpinnings of these films, as well as uses the films as a vehicle for exploring and explicating traditional philosophical ideas. Some of the themes and topics that the volume covers include: moral ambiguity, existential angst, redemption, tragedy, reason vs. passion, and the meaning of life.

"Dense and intriguing, the book suggests noir is best perceived as a slightly warped mirror held up to contemporary society." –Publishers Weekly

"The essays work both as solid primers into philosophy, stretching from Aristotle to Schopenhauer, and as lucid excursions into the genre's dark, mean streets. . . . A fascinating, readable, and provocative book. . . . Highly recommended." –Choice

“As a whole the collection aims to achieve two goals: to introduce genuine philosophical problems and film noir characteristics, while providing sufficiently in-depth discussion that those familiar with either philosophical methods or film noir will not find the material too elementary. Although facing a difficult task, Conard has put together a collection that succeeds in both respects.” –Intertexts