|
|
|
|
| LEADER |
00000cam a2200000Mu 4500 |
| 001 |
ocn900344852 |
| 003 |
OCoLC |
| 005 |
20240809213013.0 |
| 006 |
m o d |
| 007 |
cr |n||||||||| |
| 008 |
150117s2015 xx o 000 0 eng d |
| 040 |
|
|
|a EBLCP
|b eng
|e pn
|c EBLCP
|d OCLCQ
|d OCLCO
|d HEBIS
|d JSTOR
|d OCLCF
|d OCLCO
|d OCLCQ
|d ZCU
|d MERUC
|d IOG
|d ICG
|d TXC
|d OCLCQ
|d LVT
|d DKC
|d OCLCQ
|d OCLCO
|d OCLCQ
|d OCLCO
|d OCLCL
|
| 020 |
|
|
|a 9780813156781
|q (electronic bk.)
|
| 020 |
|
|
|a 0813156785
|q (electronic bk.)
|
| 035 |
|
|
|a (OCoLC)900344852
|
| 037 |
|
|
|a 22573/ctt129cvt5
|b JSTOR
|
| 043 |
|
|
|a n-us---
|
| 050 |
|
4 |
|a PN1992.8.D48 P45 2015
|
| 072 |
|
7 |
|a PHI000000
|2 bisacsh
|
| 072 |
|
7 |
|a PER010030
|2 bisacsh
|
| 049 |
|
|
|a HCDD
|
| 100 |
1 |
|
|a Sanders, Steven.
|
| 245 |
1 |
4 |
|a The Philosophy of TV Noir.
|
| 260 |
|
|
|a Lexington :
|b The University Press of Kentucky,
|c 2015.
|
| 300 |
|
|
|a 1 online resource (284 pages).
|
| 336 |
|
|
|a text
|b txt
|2 rdacontent
|
| 337 |
|
|
|a computer
|b c
|2 rdamedia
|
| 338 |
|
|
|a online resource
|b cr
|2 rdacarrier
|
| 347 |
|
|
|a data file
|2 rda
|
| 490 |
1 |
|
|a The Philosophy of Popular Culture
|
| 588 |
0 |
|
|a Print version record.
|
| 505 |
0 |
|
|a Cover; Half-title ; Title; Copyright; Contents; Preface and Acknowledgments; An Introduction to the Philosophy of TV Noir; From Film Noir to TV Noir; The Through-Line of Film Noir; Realism and Relativism; An Unreasoning Annihilation; Alienation and Moral Ambiguity; Sunshine Noir; Existentialism, Crisis, and Revolt; Nihilism, Noir, and The Sopranos; Postmodernism and Crime Story; Paranoia, Detection, and Crime Scene Investigation; Espionage, Science Fiction, and Realism; The Ambiguous Perspective on Life; Notes; Part 1: Realism, Relativism, and Moral Ambiguity.
|
| 505 |
8 |
|
|a Dragnet, Film Noir, and Postwar RealismRealism and Documentary in the Film Noir; He Walked by Night; Dragnet: A Different Kind of Realism; ""The Story You Are about to See Is True""; Notes; Naked City: The Relativist Turn in TV Noir; The Relativist Turn; Relativism of Morality and Normality; Cultural Relativism; Problems with Cultural Relativism; Individual Relativism; Notes; John Drake in Greeneland: Noir Themes in Secret Agent; Why Drake Is Not Bond; The Influence of Graham Greene; Noir Themes in Secret Agent; Notes; Action and Integrity in The Fugitive; Duty and Motivation.
|
| 505 |
8 |
|
|a Angels Travel on Lonely RoadsThe White Knight; Never Stop Running; Notes; Part 2: Existentialism, Nihilism, and the Meaning of Life; Noir et Blanc in Color: Existentialism and Miami Vice; Amphetamine Theatre; Points on a Compass of Cultural Reference; Life Lessons and Death Sentences; Existential Errors; Miami Masquerade; An ""I"" Exam Is Existential; Two Existentialist Approaches; Out of Whose Past?; New Hope for the Living; Notes; 24 and the Existential Man of Revolt; 24 and Noir; Jack Bauer: Noir Protagonist; Camus' ""Man of Revolt""; Jack Bauer: Existential Hero; Notes.
|
| 505 |
8 |
|
|a Carnivale Knowledge: Give Me That Old-time Noir ReligionCarnivale and Religious Film Noir; Graham Greene's Whiskey Priest; Brother Justin's ""Fear and Trembling""; Notes; The Sopranos, Film Noir, and Nihilism; Nihilism and Film Noir; God and Gary Cooper Are Dead; ""It's All a Big Nothing""; Animals and Animosity; The Sad Clown; Notes; Part 3: Crime Scene Investigation and the Logic of Detection; CSI and the Art of Forensic Detection; The Corrupt City and CSI Storylines; CSI as Procedural Noir; The Investigative Team; Case Studies; Notes; Detection and the Logic of Abduction in The X-Files.
|
| 505 |
8 |
|
|a Alien NoirThe X-Files Mythology; Mulder and Scully as Sherlock Holmes and Dr. Watson; Mulder and Scully as Noir Detectives; Mulder and Scully and Clifford and James; The Logic of Abduction-the Other ""Abduction""; Detective Semiotics and the ""Absence Sign""; Mulder Thinks Outside the Paradigm; Return to the ""Will to Believe""; Scully and Mulder as One Mind; Notes; Part 4: Autonomy, Selfhood, and Interpretation; Kingdom of Darkness: Autonomy and Conspiracy in The X-Files and Millennium; Mr. (and Ms.) Noir; G-Men; ""Trust No One""; The Carceral Archipelago and the Panoptical Regime; Fugitives.
|
| 500 |
|
|
|a Coda: A Noir World Order.
|
| 520 |
|
|
|a 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, inc.
|
| 650 |
|
0 |
|a Detective and mystery television programs
|z United States
|x History and criticism.
|
| 650 |
|
0 |
|a Fantasy television programs
|z United States
|x History and criticism.
|
| 650 |
|
0 |
|a Film noir
|z United States
|x History and criticism.
|
| 650 |
|
7 |
|a PHILOSOPHY
|x General.
|2 bisacsh
|
| 650 |
|
7 |
|a Detective and mystery television programs
|2 fast
|
| 650 |
|
7 |
|a Fantasy television programs
|2 fast
|
| 650 |
|
7 |
|a Film noir
|2 fast
|
| 651 |
|
7 |
|a United States
|2 fast
|1 https://id.oclc.org/worldcat/entity/E39PBJtxgQXMWqmjMjjwXRHgrq
|
| 655 |
|
7 |
|a Criticism, interpretation, etc.
|2 fast
|
| 700 |
1 |
|
|a Skoble, Aeon J.
|
| 758 |
|
|
|i has work:
|a The philosophy of TV noir (Text)
|1 https://id.oclc.org/worldcat/entity/E39PCGmXGFpyy9XWTBxYmPb9Qq
|4 https://id.oclc.org/worldcat/ontology/hasWork
|
| 776 |
0 |
8 |
|i Print version:
|a Sanders, Steven.
|t Philosophy of TV Noir.
|d Lexington : The University Press of Kentucky, ©2015
|z 9780813124490
|
| 830 |
|
0 |
|a Philosophy of popular culture.
|
| 856 |
4 |
0 |
|u https://ebookcentral.proquest.com/lib/holycrosscollege-ebooks/detail.action?docID=1915454
|y Click for online access
|
| 903 |
|
|
|a EBC-AC
|
| 994 |
|
|
|a 92
|b HCD
|