LEADER 05833nam 2200733 450 001 9910828029403321 005 20200520144314.0 010 $a0-8131-5678-5 010 $a0-8131-7262-4 035 $a(CKB)1000000000479905 035 $a(EBL)1915454 035 $a(SSID)ssj0000221107 035 $a(PQKBManifestationID)12048504 035 $a(PQKBTitleCode)TC0000221107 035 $a(PQKBWorkID)10157294 035 $a(PQKB)10493273 035 $a(OCoLC)182522016 035 $a(MdBmJHUP)muse44478 035 $a(Au-PeEL)EBL1915454 035 $a(CaPaEBR)ebr11009822 035 $a(CaONFJC)MIL691179 035 $a(OCoLC)900344852 035 $a(MiAaPQ)EBC1915454 035 $a(EXLCZ)991000000000479905 100 $a20150206h20082008 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt 182 $cc 183 $acr 200 04$aThe philosophy of TV noir /$fedited by Steven M. Sanders and Aeon J. Skoble ; contributors, Jerold J. Abrams [and fifteen others] 210 1$aLexington, Kentucky :$cThe University Press of Kentucky,$d2008. 210 4$dİ2008 215 $a1 online resource (284 p.) 225 1 $aPhilosophy of Popular Culture 300 $aIncludes index. 311 $a1-322-59897-5 311 $a0-8131-2449-2 320 $aIncludes bibliographical references and index. 327 $aCover; 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 327 $aDragnet, Film Noir, and Postwar Realism Realism 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 327 $aAngels Travel on Lonely Roads The 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 327 $aCarnivale Knowledge: Give Me That Old-time Noir Religion Carnivale 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 327 $aAlien 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 327 $aCoda: A Noir World Order 330 $aThe influence of classic film noir on the style and substance of television in the 1950's and 1960's has persisted to the present day. Its pervasiveness suggests the vitality of the noir depiction of human experience and the importance of TV for transmitting the legacy of film noir and producing new forms of noir. Noir television is also noteworthy for its capacity to raise philosophical questions about the nature of the human condition. Drawing from the fields of philosophy, media studies, and literature, the contributors to The Philosophy of TV Noir illuminate the best of noir television, inc 410 0$aPhilosophy of popular culture. 606 $aDetective and mystery television programs$zUnited States$xHistory and criticism 606 $aFantasy television programs$zUnited States$xHistory and criticism 606 $aFilm noir$zUnited States$xHistory and criticism 615 0$aDetective and mystery television programs$xHistory and criticism. 615 0$aFantasy television programs$xHistory and criticism. 615 0$aFilm noir$xHistory and criticism. 676 $a791.45/61 702 $aSanders$b Steven$f1945- 702 $aSkoble$b Aeon J. 702 $aAbrams$b Jerold J. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828029403321 996 $aThe philosophy of TV noir$94119547 997 $aUNINA