Andrew Spicer
Search for other papers by Andrew Spicer in
Current site
Google Scholar
British neo-noir
Abstract only
Log-in for full text

British neo-noirs are highly intertextual and allusive, both thematically and visually. They have a degree of visibility and recognition - even if they are often reviewed dismissively - because they are produced by filmmakers conscious of the 'tradition' of film noir. Get Carter, a highly representative British neo-noir because of its combination of indebtedness to American gangster films and British social realism, has itself become a powerful model, acting as a cultural intermediary between contemporary British filmmakers and American noir. Carter's investigations reveal how civic corruption, gambling, violence and sleazy sex are intermingled in a predatory noir world. Empire State's critical conflation of Thatcherism and the Americanisation of British culture was explored in a more extended form in Stormy Monday. Shooters replaces Bird's overtly political agenda with the fatalistic existentialism more characteristic of the third phase of neo-noir, and the film's sense of anarchy and social breakdown is stronger.

  • Collapse
  • Expand

All of MUP's digital content including Open Access books and journals is now available on manchesterhive.




All Time Past Year Past 30 Days
Abstract Views 551 210 15
Full Text Views 44 4 0
PDF Downloads 29 9 0