neo-noir的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

Dark Stars: 12 Terrifying New Tales of Horror

為了解決neo-noir的問題，作者Taff, John F. D. 這樣論述：

Dark Stars, edited by John F.D. Taff, is a tribute to horror’s longstanding short fiction legacy, featuring 12 terrifying original stories from today’s most noteworthy authors.Within these pages you’ll find tales of dead men walking, an insidious secret summer fling, an island harboring unspeaka

ble power, and a dark hallway that beckons. You’ll encounter terrible monsters--both human and supernatural--and be forever changed. The stories in Dark Stars run the gamut from traditional to modern, from dark fantasy to neo-noir, from explorations of beloved horror tropes to the unknown--possibly

unknowable--threats. It’s all in here because it’s all out there, now, in horror. Dark Stars features all-new stories from the following award-winning authors and up-and-coming voices: Chesya Burke, Ramsey Campbell, Gemma Files, Stephen Graham Jones, Alma Katsu, Caroline Kepnes, John Langan, Livia L

lewellyn, Josh Malerman, Usman T. Malik, Priya Sharma, and John F.D. Taff. Created as an homage to the 1980 classic horror anthology Dark Forces, edited by Kirby McCauley, Dark Stars features an afterword from original contributor Ramsey Campbell--a poignant finale to this bone-chilling collection.

neo-noir進入發燒排行的影片

時空的折疊：論克里斯多福．諾蘭的科幻電影《星際效應》之影像與哲思

為了解決neo-noir的問題，作者王楚瑜 這樣論述：

英國導演克里斯多福・諾蘭因創作獨立電影而聞名，此後執導多部高成本大規模電影。諾蘭既是導演，又是編劇、電影製片人，常在一部電影中擔任多個職位，因此，他是當代最成功的好萊塢電影作者之一。諾蘭的創作從始至終都以縝密複雜的敘事手法和奇思妙想的視聽語言相輔相成。2014年《星際效應》上映，影片以太空探索的背景做出對人類末日命運的思考，呈現出無與倫比的電影語言藝術張力，並且獲得奧斯卡最佳視覺效果獎、土星獎最佳科幻電影等重大獎項。本論文探討諾蘭電影中的作者策略，及其科幻電影中所具有的電影作者特質。以《星際效應》作為研究文本，探究諾蘭電影的時空敘事邏輯、因果關係的敘事方法，具體分析諾蘭為了體現多重時空而使用

的蒙太奇手法。最後，探析《星際效應》中多重時空的哲思，諾蘭根據相對論時空觀極盡真實地呈現宇觀空間，並結合荷蘭版畫藝術家艾雪的〈瀑布〉建構想像中的多維度空間。《星際效應》是一部運用命定悖論的時空穿越電影，諾蘭對高維時空因果律的想像，使故事形成互為因果的閉環，讓影片中的時空穿越情節不落窠臼。末日的背景顯露出人性潛藏的焦慮情感。根據存在主義理論分析，焦慮會反映在自我存在受到威脅的時候。本論文通過電影理論、哲學的角度解讀諾蘭的電影。《星際效應》刻畫了生命的困境，挖掘出人性的高尚與弱點。

Read Only Memories

為了解決neo-noir的問題，作者Grace, Sina 這樣論述：

Based on the hit game, this graphic novel bridges the gap between 2064: Read Only Memories and the upcoming sequel Neurodiver Enter a cyberpunk universe like you've never seen before Santa Cruz, California. A beach town just 50 miles from Neo-San Francisco. Lexi Rivers, former detective with the Ne

o-San Francisco Police Department, has left the big city lights behind in favor of opening her own agency. Valentine's Day. A time for celebrating love--or finding it. When a robot's human lover goes missing, Lexi will be faced with a case unlike any she's tackled yet, one which just might show her

that not all is as it seems in this pleasant beachside community. Sina Grace is the author and illustrator of the autobiographical Self-Obsessed and Not My Bag, which recounts a story of retail hell. He acts as the artist for Shaun Steven Struble’s cult hit, The Li’l Depressed Boy, and handles art

chores along with co-writing the Image Comics hit series, Burn the Orphanage.Grace has also done illustrations for all-ages readers, including Among the Ghosts, written by Amber Benson, and Penny Dora & the Wishing Box, written by Michael Stock. His previous works include the slice-of-life Books wi

th Pictures, and the neo-noir urban fantasy, Cedric Hollows in Dial M for Magic. For a time, he acted as Editorial Director for Robert Kirkman’s Skybound imprint at Image Comics. To date, he’s worked for Marvel Comics, IDW, Boom, Dynamite, Valiant and more. His essays have appeared on several websit

es, most notably Thought Catalog.

外來歌曲、黑色音聲、殖民遺緒 《牯嶺街少年殺人事件》與《重慶森林》的音聲與失語

為了解決neo-noir的問題，作者黃翎 這樣論述：

電影音聲研究的突破，由Michel Chion在1990年代提出audio-vision的概念開始，認為觀賞電影時視覺與聽覺密不可分。而楊德昌的《牯嶺街少年殺人事件》(1991) 和王家衛的《重慶森林》(1994) 為兩部相當重要的華語電影作品，從音聲角度的研究卻寥寥無幾。因此本文嘗試以三個層次較全面地解讀兩部電影中的音聲與影像。第一層是比較明顯的互文性 (intertextuality)，因為兩部電影中出現的音樂幾乎都是非原創的西洋流行歌曲，故先重構歌曲本身的脈絡，並聚焦當中「原唱」以及「翻唱」兩種呈現方式的主體性，從而理解其與電影畫面與敘事所產生的新文本的意義。第二是深一層以《牯嶺街少年

殺人事件》與《重慶森林》作為黑色電影去理解其音聲特性，發現兩部電影的城市的音景與所謂「致命女性」(femme fatale) 等角色的刻畫，其實都呼應著黑色電影的氛圍與基調。若第一、二層的分析較為鑒賞性 (appreciative)，近乎David Bordwell所謂的理解與解釋，最後一層則是以症候性 (symptomatic) 詮釋電影中的聲音。而這一點也是本文的主旨所在，將兩部電影視為後殖民寓言：其中在地音聲症候性的失語，是殖民權力所強制的「結構性噤聲」。