and "Film noir and " evokes memories of stylish, cynical, black- and u0026-white movies from the 40s and u0026 50s - melodramas about private eyes, femmes fatales, criminal gangs and u0026 lovers on the run. More Than Night discusses such pictures. It also shows that the central term is more complex and u0026 paradoxical than realized. Film noir refers both to an important cinematic legacy and u0026 to an idea projected onto the past. This wide-ranging cultural history offers an original approach to the subject, as well as new production information and u0026 commentary on scores of films, including Double Indemnity, The Third Man, and u0026 Out of the Past, and u0026 such neo-noirs as Chinatown, Pulp Fiction and u0026 Devil in a Blue Dress. Naremore discusses film noir as a term in criticism; as an expression of artistic modernism; as a symptom of Hollywood censorship and u0026 politics in the 40s; as a market strategy; as an evolving style; as a cinema about race and u0026 nationality and u0026 as an idea that circulates across all information technologies. This interdisciplinary book has valuable things to say not only about film and u0026 tv, but also about modern literature, the fine arts and u0026 popular culture in general. In a field where much of what's published is superficial and u0026 derivative, this work is certain to be received as a definitive treatment.