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FLM 137 — Film Noir: The '60s and Beyond

Quarter: Fall
Day(s): Wednesdays
Course Format: Live Online (About Formats)
Duration: 10 weeks
Date(s): Sep 28—Dec 7
Time: 7:00—8:50 pm (PT)
Refund Deadline: Sep 30
Units: 2
Tuition: $465
Instructor(s): Elliot Lavine
Class Recording Available: Yes
Status: Registration opens Aug 22, 8:30 am (PT)
Please Note: No class on November 23
Live Online(About Formats)
7:00—8:50 pm (PT)
Sep 28—Dec 7
10 weeks
Refund Date
Sep 30
2 Units
Elliot Lavine
Registration opens Aug 22, 8:30 am (PT)
Please Note: No class on November 23
Those who believe film noir abruptly ended with the demise of the two-fisted 1950s might find this provocative course revelatory. Since the mid-1930s, Hollywood had wrestled with the censorial Production Code, limiting what could be shown in the movies. But as the censors slowly eased their restrictions, many future-minded producers and directors seized the opportunity to exploit the same type of crime films that had proliferated during the '40s and '50s as the 1960s finally and fully exploded onto movie screens in America.

Crime films, particularly those that trafficked in sex and violence, gradually awakened to this cinematic shift. As the '60s dawned, a small cadre of low-budget, hard-boiled films emerged, some independently produced, others from major studios, all suggesting that film noir—a filmmaking style rooted in the dark psychological motifs of prewar Europe—remained alive in Hollywood, verging on a new dramatic phase. Soon, all bets would be off.

We’ll watch and discuss Blast of Silence (1961, Allen Baron), The Killers (1964, Don Siegel), The Naked Kiss (1964, Samuel Fuller), Point Blank (1967, John Boorman), The Long Goodbye (1973, Robert Altman), Chinatown (1974, Roman Polanski), Farewell, My Lovely (1975, Dick Richards), Body Heat (1981, Lawrence Kasdan), Cutter’s Way (1981, Ivan Passer), and To Live and Die in L.A. (1985, William Friedkin), among others.

All films can be rented or streamed through Netflix, Amazon Prime, iTunes, Google Play Movies, or other online platforms.

Film Programmer and Filmmaker

Elliot Lavine has been creating and programming films since the late 1970s. In 2010, he received the Marlon Riggs Award from the San Francisco Bay Area Film Critics Circle for his revival of rare archival titles and his role in the renewed popularity of film noir.