Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

N
Naremore, James (1978). The Magic World of Orson Welles. New York: Oxford
University Press.
____________ (1998). More Than Night: Film Noir in Its Contexts. Los Angeles:
University of California Press, Ltd.
Navasky, Victor (1980). Naming Names. New York: Viking Press.
Neale, Stephen (2000). Genre and Hollywood. London: Routledge.
Nelson, Thomas Allen (1982). Kubrick: Inside a Film Artist’s Maze. Bloomington: Indiana
University Press.
Neve, Brian (1982). Films and Politics in America: A Social Tradition. London:
Routledge.
Nichols, Bill (1981). Ideology and the Image: Social Representation in the Cinema and
Other Media. Bloomington: Indiana University Press.
Nolan, William F. (1984). Black Mask Boy: Masters in the Hard-Boiled School of
Detective Fiction. New York: HarperCollins Publishers.
Nourmand, Tony and Marsh, Graham, eds (2002). Film Posters of the 40s: The Essential
Movies of the Decade. London: Evergreen.
Nowell-Smith, Geoffrey, ed. (1997). The Oxford History of World Cinema. Oxford:
Oxford University Press.
O
O’Brien, Geoffrey (1991). “The Return of Film Noir!”. In New York Review of Books,
Aug. 15, p. 45.
____________ (1997). Hardboiled America: Lurid Paperbacks and the Masters of Noir.
New York: Da Capro Press.
Orr, Christopher (1997). “Genre Theory in the Context of the Noir and Post-Noir Film”. In
Film Criticism, 22 (1), pp. 21-37.
Orr, John (2000). The Art and Politics of Film. Edinburgh: Edinburgh University Press.
Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940-1958.
Metuchen, N.J.: The Scarecrow Press, Inc.
427