By Roger Ebert
Occasionally there's simply not anything extra soaking up than staring at a film that actually seems at existence at the darkish part, revealing these darkish components of human nature that we discover so facinating. In Roger Ebert's alternatives of 27 video clips from the darkish part, he bargains a various choice from a glance on the seamy aspect of existence in L.A. in Chinatown to a backwoods homicide long gone mistaken in Blood uncomplicated. Throw in classics from Alfred Hitchcock, infamous and Strangers on a educate, and French excursions de strength, Bob le Flambeur and Touchez Pas au Grisbi and you've bought the primer on movie noir.
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Additional resources for 27 Movies from the Dark Side
On the other hand, what Metz, at this stage of his thinking, categorizes as ‘cinema’– reducible to institutional, technical, economic and social aspects – fails to supply the basic textual material for Bakhtinian analysis: the utterance. In the first instance, text is robbed of context; in the second, context divorced from text. A terminological opposition addressed by Bakhtin in a fragmentary note encapsulates the fundamental difference between the two approaches: Context and code. A context is potentially unfinalized; a code must be finalized.
43) brought by a specific viewing community to a film, such theory fails to acknowledge that ‘[t]he textually constructed reader/spectator does not necessarily coincide with the sociohistorical reader/spectator’ (43). Thinking through such roles outside of a politically specific ‘discourse of positionality’ (one that, ironically, can be seen to channel power away from the already disempowered spectator) was a challenge to film studies after 1975. 144–5). As we explore these, what must be avoided, as ever, is an opportunistic promotion of dialogism as a corrective for all the ideological inadequacies of Hollywood film.
A context is potentially unfinalized; a code must be finalized. A code is only a technical means of transmitting information; it does not have cognitive, creative significance. A code is a deliberately established, killed context. 147) A systematic analysis along Metzian lines would render an efficient account of the way that narrative codes are arranged in the text but, through failing to appreciate rich contextual factors such as the film’s capacity to dialogically refer to and communicate with other texts, would inevitably bypass many important resonances on the narrative level.