By Ali Smith
"A stimulating mixture of literary feedback, essay, and fiction" (The New Yorker) from the incomparable Ali Smith
Artful is a party of literature's worthy in and to the world—it is ready the issues paintings can do, the issues paintings is made up of, and the quicksilver nature of all artfulness. a mystical hybrid that refuses to be tied all the way down to both fiction or the essay shape, Artful is narrated by means of a personality who's haunted—literally—by a former lover, the author of a chain of lectures approximately artwork and literature. Ali Smith's heady powers as a novelist and brief tale author harmonize together with her prepared perceptions as a reader and critic to shape a dwelling factor that reminds us that existence and paintings are by no means separate.
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Like Borde and Chaumeton, Chabrol regarded this picture as a watershed, although he believed its significance had less to do with the end of a genre than with the creation of a cinema of authors. By the mid 1950s, Chabrol argued, the literary sources of film noir had “dried up,” and the plots and mise-en-scènes were clichéd. There was no question of renewing the form, but it had become a “wonderful pretext”: “[Kiss Me Deadly] has chosen to create itself out of the worst material to be found, the most deplorable, the most nauseous product of a genre in a state of putrefaction: a Mickey Spillane story.
The first age of film noir had ended. Darkness Everywhere The discourse on American film noir was initiated by two generations of Parisian intellectuals, most of whom declared the form extinct soon after they invented it. Many of the films they discussed had been directed by European émigrés (mainly Germans), who used tough, Hemingwayesque dialogue and American production values to bestow a kind of glamour upon the dark emotional moods favored by Continental artists of the postwar decade. For the French especially, an American star like Bogart epitomized these moods.
8 I say more about such matters in subsequent chapters; for now, however, the publication and eventual adaptation of J’irai cracher interest me for historical reasons, because they coincide with what I shall call the first (or historical) age of American film noir: the period between the postwar arrival of Hollywood movies in Paris and the beginnings of the French New Wave. We can never know when the first film noir was made (examples have been claimed as far back as D. W. Griffith’s Muscateers of Pig Alley  and Louis Feuillade’s Fantomas ), but everyone agrees that the first writings on Hollywood noir appeared in French film journals in August 1946—at exactly the moment when “Vernon Sullivan” was composing his novel.