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A revised and updated edition of the definitive study of film noir—the most original genre of American cinema—with a new afterword by the author
Since The Dark Side of the Screen first appeared over two decades ago, it has served as the essential take on what has become one of today’s most pervasive screen influences and enduringly popular genres. Covering over one hundred outstanding films and offering more than two hundred carefully chosen stills, it is by far the most thorough and entertaining study available of noir themes, visual motifs, character types, actors, and directors. This landmark work covers noir in full, from the iconic performances of Burt Lancaster, Joan Crawford, and Humphrey Bogart to the camera angles, lighting effects, and story lines that characterize the work of directors Fritz Lang, Billy Wilder, and Orson Welles.
With a new afterword about the lasting legacy of noir as well as recently rediscovered films deserving of their own screenings alongside the classics, The Dark Side of the Screen reestablishes itself as both an unsurpassed resource and a captivating must-read for any fan of noir.
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- Sales Rank: #155897 in Books
- Published on: 2008-11-25
- Released on: 2008-11-25
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x .62" w x 7.00" l, 1.00 pounds
- Binding: Paperback
- 272 pages
Review
Martin Jackson, Cineaste
“Wonderfully readable: Hirsch is clear, knowledgeable, and concise….[The Dark Side of the Screen] is a visual as well as literary pleasure.”
Philip French, The Observer (London)
“There has been no extended work as good as Foster Hirsch’s The Dark Side of the Screen, a well-written, imaginatively illustrated book that sees the brief, true heyday as between Wilder’s Double Indemnity (1944) and his Sunset Boulevard (1950), but looks at the prelude and the aftermath, and sets the genre in its larger social and cultural context.”
Skyscraper, Spring 2009
“An important examination of what film noir is…The 264-page treatise is not a review source; rather, Hirsch’s academic work delves deeply with a scholarly but not dry approach.”
About the Author
Foster Hirsch, a professor of Film at Brooklyn College, is the author of sixteen books on film and theater, including Detours and Lost Highways: A Map of Neo-Noir; Love, Sex, Death, and the Meaning of Life: The Films of Woody Allen; and Otto Preminger: The Man Who Would Be King. He lives in New York.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Awesome
By Christine Toal
Wonderful book, definitely the ' go to book' on film noir.
0 of 0 people found the following review helpful.
Essential to understand film noir
By Robert C Ross
As an introduction to film noir, this is an essential text. Hirsch presents a strong discussion of several of the most important examples, including good scene selection and black and white pictures from those scenes, very evocative of the actual movies.
It has been great fun to watch the movies he analyzes chapter by chapter -- amazing how often I agree with his opinions, and on the relatively rare occasions I don't, on why not.
For me, the most interesting part of the book was his listing of overlooked films, many of them overlooked because they were not available. Now many are, some of them free on YouTube because copyrights lapsed through lack of interest. 30 years after his first edition, he searched and found new releases of some of the oldies -- they include:
The 3rd Voice
Plunder Road
Cause for Alarm
The Burglar
Tomorrow is Another Day
Quicksand
Crime of Passion
Highway 301
The Steel Trap
A Blueprint for Murder
The Night Holds Terror
Julie
Cry Terror
He concludes that each "deserves to be regularly screened in pristine new prints at repertory theatres and film festivals as well as to be released in top-quality DVDs with special features celebrating the directors, writers, actors, cinematographers and production designers who more than half a century ago created dark stories of enduring value."
In my world, these will be included in the 200 or so films Hirsch lists in his Selected Filmography.
And, a note on the edition -- mine was the fifth printing, and of excellent quality for a paperback. Earlier printings might well have been sadly lacking as reported by some reviewers. Take a chance on this printing; mine was just fine.
Robert C. Ross
October 2016
15 of 15 people found the following review helpful.
One of the 1st Film Noir Books. Still a Solid Introduction.
By mirasreviews
First published in 1981, "The Dark Side of the Screen" was among the first books in English on the subject of film noir. Author Foster Hirsch revisits that time before film noir was a fashionable subject in his introduction to this 2001 edition. More than 2 decades after its publication, "The Dark Side of the Screen" is still a solid introduction to film noir history, although it lacks discussion of the neo-noir films that have been made since its publication and has not been influenced by more recent theories. If you are new to classic film noir, this book is not a bad place to start. It is very readable, discusses or mentions over 100 films, and the large format (8.5"x11") allows for over 180 black-and-white photographs. "The Dark Side of the Screen" contains basic information on the film noir movement that you are likely to find in any good introductory text, so it's not intended for those already well-versed in the subject.
In eight chapters, Hirsch follows the film noir movement through its classic period, 1941 to the late 1950s, until its self-conscious revival in the 1970s. "The Dark Side of the Screen" starts out with an overview of typical noir themes and summary of the style's evolution, then takes a step back in time to film noir's sources, obvious and alleged, in American hard-boiled crime literature, German Expressionist art, and Italian Neo-Realist cinema. Hirsch summarizes noir's narrative and visual style before discussing key directors, mainly German �migr�s and Americans, and many of the important names among film noir actors, with analysis of the typical film noir acting style. The book concludes with a useful, though occasionally forced, attempt to categorize film noir's basic narrative patterns and central figures and a brief discussion of neo-noir.
Like all historians and theorists, Foster Hirsch has opinions. His assertion that film noir is a "genre" and his presumption that its low-key lighting is "borrowed directly" or "clearly indebted" to German Expressionism become increasingly controversial as time passes. I mention this so that film noir aficionados know where he's coming from and to caution tyros that many ideas about film noir are controversial, so take everything with a grain of salt until you've formed your own opinions. But there is no reason not to start forming them with "The Dark Side of the Screen", which provides a nice overview of the classic film noir movement and lots of good film recommendations.
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