Authors
Aeon J. Skoble
Bridgewater State University
Abstract
Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right.
Keywords No keywords specified (fix it)
Categories No categories specified
(categorize this paper)
Options
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy


Upload a copy of this paper     Check publisher's policy     Papers currently archived: 62,513
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

The Philosophy of Film Noir.Mark T. Conard & Robert Porfirio (eds.) - 2006 - University Press of Kentucky.
Film Noir and the Meaning of Life.Steven M. Sanders - 2006 - In Mark T. Conard & Robert Porfirio (eds.), The Philosophy of Film Noir. University Press of Kentucky. pp. 91--106.
From Sherlock Holmes to the Hard-Boiled Detective in Film Noir.Jerold J. Abrams - 2006 - In Mark T. Conard & Robert Porfirio (eds.), The Philosophy of Film Noir. University Press of Kentucky. pp. 69--88.
Film Noir and the Frankfurt School: America as Wasteland in Edgar Ulmer's Detour.Paul A. Cantor - 2006 - In Mark T. Conard & Robert Porfirio (eds.), The Philosophy of Film Noir. University Press of Kentucky. pp. 139--61.
A Darker Shade: Realism in Neo-Noir.Jason Holt - 2006 - In Mark T. Conard & Robert Porfirio (eds.), The Philosophy of Film Noir. University Press of Kentucky. pp. 23--40.
Nietzsche and the Meaning and Definition of Noir.Mark T. Conard - 2006 - In Mark T. Conard & Robert Porfirio (eds.), The Philosophy of Film Noir. University Press of Kentucky.

Analytics

Added to PP index
2016-09-21

Total views
16 ( #640,985 of 2,446,455 )

Recent downloads (6 months)
1 ( #456,581 of 2,446,455 )

How can I increase my downloads?

Downloads

My notes