The philosophy of TV noir
著者
書誌事項
The philosophy of TV noir
（The philosophy of popular culture）
University Press of Kentucky, c2008
- : hbk
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
The influence of classic film noir on the style and substance of television in the 1950s and 1960s has persisted to the present day. Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir. Noir television is also noteworthy for its capacity to raise philosophical questions about the nature of the human condition. Drawing from the fields of philosophy, media studies, and literature, the contributors to The Philosophy of TV Noir illuminate the best of noir television, including such shows as Dragnet, The Fugitive, Miami Vice, The X-Files, CSI, and 24.
目次
Introduction: War Films and the Ineffability of War
War and Representation
War Pictures: Digital Surveillance from Foreign Theater to Homeland Security Front
Lenses into War: Digital Verite in Iraq War Films
Beyond Panopticism: The Biopolitical Labor of Surveillance and War in Contemporary Film
Seeing Soldiers, Seeing Persons: Wittgenstein, Film Theory, and Charlie Chaplin's Shoulder Arms
Apocalypse Within: The War Epic as Crisis of Self-Identity
The Violated Body: Affective Experience and Somatic Intensity in Zero Dark Thirty
"All in War with Time": Medium as Meditation in Sherman's March
The Power of Memory and the Memory of Power: Wars and Graves in Westerns and Jidaigeki
The Ubiquitous Absence of the Enemy in Contemporary Israeli War Films
General Patton and Private Ryan: The Conflicting Reality of War and Films about War
The Work of Art in the Age of Embedded Journalism: Fiction versus Depiction in Zero Dark Thirty
Vernacular Metaphysics: On Terrence Malick's The Thin Red Line
War and Its Fictional Recovery on Screen: Narrative Management of Death in The Big Red One and The Thin Red Line
"Profoundly Unreconciled to Nature": Ecstatic Truth and the Humanistic Sublime in Werner Herzog's War Films
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