Essay About Film Noir Foundation
The Film Noir Foundation is a non-profit public benefit corporation created as an educational resource regarding the cultural, historical, and artistic significance of film noir as an international cinematic movement.
It is our mission to find and preserve films in danger of being lost or irreparably damaged, and to ensure that high quality prints of these classic films remain in circulation for theatrical exhibition to future generations.
That's the high-toned legalese. Here are the facts: Even as the high-tech revolution lets us own vast film libraries on DVD, the risk grows greater all the time that 35mm prints of some films will fall into disuse and eventually disintegrate—especially lesser-known titles that have slipped through the cultural cracks, but are worthy of rediscovery.
As a focal point of the classic film noir revival, the Foundation serves as a conduit between film companies and repertory cinemas still eager to screen these films in 35mm. Revenues generated by ticket sales encourage studios film archives to strike new prints of films that are at risk of disappearing from public view, either through neglect or scarcity. Once these films sare unearthed and returned to circulation, the chances exponentially increase that they will be reissued on DVD, available in pristine, affordable form for future generations of film-lovers.
Since 2005, the Film Noir Foundation has saved the following films:
Cry Danger (1951)
The Prowler (1951) – Funded by the FNF in conjunction with the Stanford Theatre Foundation
Try and Get Me! (1951)
Repeat Performance (1947) - Funded by the FNF in conjunction with the Packard Humanities Institute
High Tide (1947) - Funded by the FNF in conjunction with the Packard Humanities Institute
Too Late for Tears (1949)
The Guilty (1947)
Woman on the Run (1950)
Los tallos amargos (1956)
New 35mm Prints
Funded by the FNF
No abras nunca esa puerta (Don't Open That Door) (1952)
Si muero antes de despertar (If I Die Before I Wake) (1952)
Apenas un delincuente(Hardly a Criminal) (1949)
El vampiro negro (The Black Vampire) (1953)
The Underworld Story (1950)
The Window (1949)
Nobody Lives Forever (1946)
High Wall (1947)
The Hunted (1948)
Down Three Dark Streets (1954)
Cry Tough (1959)
Three Strangers (1946)
Southside 1-1000 (1950)
New 35mm Prints
Fostered and screened by the FNF, funded by film studios
I Love Trouble (1948)
Night Has 1000 Eyes (1948)
Alias Nick Beal (1949)
Strangers In the Night (1944)
Naked Alibi (1954)
Slaughter on 10th Avenue (1957)
The Great Gatsby (1949)
Woman on the Run (1950) (digital copy from 35mm before only print was destroyed)
Our Video Archives feature an expanding catalog of noir-related video, ranging from exclusive interviews, to festival guest appearances, to short films inspired by film noir.
LATEST ADDITION Alan K. Rode's interview with Sara Karloff, daughter of famed horror star, Boris Karloff, at the May 2017 screening of The Body Snatcher at the Arthur Lyons Film Noir Festival. WATCH
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NOIR CITY E-Mag Back
The Film Noir Foundation has its NOIR CITY e-Magazine back issues for sale — all issues, $5.99 each, plus tax. Please note: These are not printed magazines. The NOIR CITY e-Magazines are electronic issues delivered to your inbox as PDFs. Collect your favorites or own twenty interactive issues of the best cinema publication available today. You'll be helping the Film Noir Foundation in its restoration efforts with your purchases at NoirCityMag.com.
NOIR CITY Annual #10
A stellar collection of writing here! 2018's NOIR CITY Annual 10, the best of the best from the Film Noir Foundation's 2017 quarterly NOIR CITY e-magazines, is an essential addition for your bookshelves -- essays, interviews, profiles, tributes, and reviews of classic and modern noir films from writers in top form -- including Imogen Sara Smith, Jake Hinkson, Ray Banks, Sharon Knolle, Brian Light, Danny Gardner, Trina Robbins, Sean Axmaker, Alan K. Rode, Eric Beetner, Steve Kronenberg, and Eddie Muller. Book layout and design by Michael Kronenberg. And, as with any purchase from the FNF, when you buy NOIR CITY Annual 10, you'll be helping fund the non-profit foundation's film restoration efforts. PURCHASE AT AMAZON
For the latest in noir news from the small screen to the big screen and beyond, visit our news page. We'll keep you updated on Film Noir Foundation projects and events, films festivals, noir related happenings in other mediums, as well as noir and neo-noir titles released on disc and digital. Check our monthly tv listings for noir and neo-noir films coming up on Turner Classic Movies.
I'm just glad there is an organization doing this. Back in 1988 when I first became obsessed, it seemed like few knew what film noir was here in the UK. So it would usually be just me and a small bunch of moody loners (male and female) who'd go to a regular evening at a flea pit in North London. Three films for a couple of bucks (or pounds here). Such fun... A pity NOIR CITY only happens in the U.S. Oh well, maybe one day I'll get over.. — Henry Jaremko
Just wanted to start by telling you that I am extremely happy to have found your Foundation. I am 38 years of age, and for the last few years I have become a fan of 40s and 50s movies. My parents are Greek. They moved to Australia before I was born, and the fact that I am a Greekimg Australian who loves old movies is rare.... I have my parents to thank—especially my father, because he always had great enthusiasm whenever Bogart or Cagney was on the television. I have your NOIR CITY e-magazines, and they are nothing short of amazing... Thank you for your time and thank you for saving the greatest years of film. — Daniel Sarantidis
I just sent you $100 via Paypal. But I missed the "send message" link. I have contributed before, and I wish I could do so more often. The content of your site continually amazes me! — Patrick Shields
Surround yourself in a miasma of social media darkness: join us on Facebook,Tumblr and Twitter for a complete immersion in the world of film noir through film stills, posters, film clips, brilliant insights and mre. Maybe you'll meet a dangerous stranger along the way.
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Articles from the previous issue
Our samples below are designed to drop you into a seething cauldron of pulp fury ... enjoy!
HEADSHRINKERS: PSYCHIATRISTS AS VILLAINS, ON-SCREEN AND OFF
Sharon Knolle delves into the dark side of post-war Hollywood's embracement of psychiatry as both story material and as a course of treatment for mental health issues. READ
BOOK VS FILM: BLUE THE BLANK WALL VS. THE RECKLESS MOMENT
Jake Hinkson explores Elisabeth Sanxay Holding's novel The Blank Wall and it's two cinematic adaptations, Max Ophüls' The Reckless Moment (1949) and The Deep End (2001), directed by Scott McGehee and David Siegel. READ
UNCOMMON GROUND: ANTHONY MANN, GEOFFREY SHURLOCK, AND THE CULT OF THEOSOPHY
Production Code Administration director Geoffrey Shurlock and film director Anthony Mann had an unusual childhood commonality, both were raised at utopian commune known as "Lomaland. John Wranovics explores the impact of their shared background on their individual careers. READ