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Einrichtungen >> Fakultät Geistes- und Kulturwissenschaften >> Institut für Germanistik >> Lehrstuhl für Literatur und Medien >>
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S: Noir intermedial- Dozent/in
- Cara Koehler
- Angaben
- Seminar
Zeit und Ort: Mo 12:00 - 14:00, U5/01.17
- Voraussetzungen / Organisatorisches
- Modulzugehörigkeiten Master Literatur und Medien:
Vergleichende Literatur- und Medienwissenschaft: Seminar (Referat + Hausarbeit, 8 ECTS)
Film- und Bildwissenschaft: Seminar (Referat + Hausarbeit, 8 ECTS)
Erweiterung Film- und Bildwissenschaft: Seminar (Referat + Hausarbeit, 8 ECTS)
Profilmodul: Übung (Referat, 4 ECTS)
Anmeldung/Abmeldung vom 26. September 2016, 10:00 Uhr bis 4. November 2016, 23:59 Uhr im FlexNow!
- Inhalt
- Why does the term noir, as both an ethos and an iconic aesthetic, persist in the cultural imaginary, both in America and abroad? Noir as a style and worldview relies heavily on ‘mediated’ realities, and thus for the full, immersive noir experience we must discuss noir iconography across a wide range of media: from novels to comics to film; from oil paintings to poems to photographs.
Visual literacy is a key goal of this course. Students will gain an understanding of the central role aesthetics play in constructing noir’s cult status — cigarettes, cityscapes, and comely fashion choices all have their purpose. In order to discuss noir’s themes and styles more productively, we will call upon theory and terminology from the fields of narratology, intermediality, philosophy and psychology (to name a few) to help explain what is seen and felt.
Hollywood is primarily to thank for solidifying a popular understanding of what noir looks and feels like, churning out a remarkable number of films noir throughout the 1940s and 50s. These films — with their unconventionally dark palettes and curiously bleak endings — along with the characters — with their loose morals and fatalistic worldview — effectively conveyed the anxiety of a country reeling from WWII. Although the timeline for this course spans roughly the Jazz Age up to the Cold War, we will also briefly discuss the so-called neo noir, in addition to a recent trend in quality television to repurpose noir conventions, harkening back to its roots in seriality.
Select course readings, including key critical and theoretical texts, will be announced in the first session and made available throughout the semester on the Virtueller Campus.
A short preview of works to be discussed:
Ernest Hemingway: “The Killers” (1927; short story)
Dashiell Hammett: The Maltese Falcon (1929; novel)
Weegee: TBD (selected photographs)
Michael Curtiz: Mildred Pierce (1945, film)
Roman Polanski: Chinatown (1974, film)
Frank Miller: Sin City [select volumes] (1991-2000, comic)
Kevin Young: Black Maria (2007, poetry)
Hinweis für Web-Redakteure:
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