Remaking the Crisis of Masculinity in Hollywood Neo-Noir: The Postman Always Rings Twice and Body Heat
This article builds on the recent questioning of the critical consensus on film noir as the locus of the representation of “men in crisis” to examine how the notion of “anti-hero” of classical film noir scholarship has shaped the content of Body Heat (Lawrence Kasdan) and The Postman Always Rings Tw...
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| Wydane w: | URI:https://journals.openedition.org/ges, |
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| 1. autor: | |
| Format: | Article ou chapitre numérique |
| Język: | Français |
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Genre en séries
2024
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| Hasła przedmiotowe: | |
| Dostęp online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Streszczenie: | This article builds on the recent questioning of the critical consensus on film noir as the locus of the representation of “men in crisis” to examine how the notion of “anti-hero” of classical film noir scholarship has shaped the content of Body Heat (Lawrence Kasdan) and The Postman Always Rings Twice (Bob Rafelson), the 1981 remakes of Double Indemnity (Billy Wilder 1944) and The Postman Always Rings Twice (Tay Garnett, 1946). Influenced by the intellectual and aesthetic context of the 1980s characterized by “allusionism” (Carroll 1982) and “movie-consciousness” (Thompson and Bordwell, 2003 [1994]: 517) that fostered the cross-fertilization between film theory and film practice, neo-noir filmmakers have produced films that are actually more faithful to the critical findings than the classical film noirs themselves. To illustrate this, the article looks at the transformations that the two original films noirs have undergone along with their effects and shows how critical scholarship on classical film noir is put into practice in the neo-noir remakes. |
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