Which brings us back to rugby (or whatever wholesome team
sport you care to pick), which represents the antithesis of
alienation, which is maybe why there is a dearth of noir and
hardboiled stories in that area. Of course, all you have to
do is get one of the team alienated and you have a story. But
I still think there are other factors at play that stop rugby
going all noir.
Charlie.
---------- charliewilliams.net
--- In
rara-avis-l@yahoogroups.com, Steve Novak
<Cinefrog@...> wrote:
>
> In other words, I mean in other word, noir and
harboiled are
stories of
> alienation (as in Œcrime¹)....
> How¹s that?
>
> Montois
>
> On 2/20/08 6:48 PM, "Patrick King"
<abrasax93@...> wrote:
> I'd say much more than "class, colour,
money,
> > education, status and sex," the clashes that
occur in
> > noir and hardboiled fiction are between the
lucky and
> > the unlucky in life. Most stories concern
someone
> > who's been very lucky or unlucky, and how their
luck
> > shifts and then shifts back. Sometimes the
shift
> > occurs due to hard work and intelligent
planning
> > (Mildren Pierce, The Godfather), Or criminal
activity
> > (The Grifters, Postman Always Rings Twice),
but
> > suddenly something that looks like great good
fortune
> > fails, or a gravytrain that looked like it
would run
> > forever is routed out, or someone who's never
had a
> > bit of luck fianlly sees an opportunity.
Class,
> > colour, money, education, status and sex are
really
> > just the underpinning of the story. You could
reverse
> > any of these in a well-written noir story, and
still
> > have just as good a tale as long as the
reversals of
> > fortune hold true.
> >
> > Patrick King
>
>
>
> [Non-text portions of this message have been
removed]
>
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