Mostly based on hard-boiled detective fiction of the 1930s, film thrillers as a genre were at first largely despised. The French film critics of the nouvelle vague were the first to recognize their artistic merit - hence the term "noir". In this seminar, we will discuss four novels and their respective film versions: Dashiell Hammett, The Maltese Falcon (1930 - film version by John Huston, 1941); James M. Cain, Double Indemnity (1935, film version by Billy Wilder, 1944); Raymond Chandler, The Big Sleep (1939, film version by Howard Hawks, 1946); and, to include a European example, Graham Greene, The Third Man (a treatment for the film by Carol Reed, 1949, published after the success of the film in 1950). On the basis of these major examples we will try to establish what constitutes "noir" in film and in literary prose. ELMS has kindly consented to show our films in their regular time-slot (Tuesdays, 6 p.m. to 8) every other week - so be prepared to work overtime occasionally! Please note also that you will be expected to read all four texts, even though your major interest may be in the cinema. (All texts available at amazon.) |
