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\u003cP\u003eFilm noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In \u003cI\u003eThe Philosophy of TV Noir\u003c/I\u003e, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as \u003cI\u003eThe Maltese Falcon, Kiss Me Deadly,\u003c/I\u003e and \u003cI\u003eThe Big Sleep\u003c/I\u003e is also found in episodic television from the mid-1950s to the present.\u003c/P\u003e\u003cP\u003eIn this first-of-its-kind collection, contributors from philosophy, film studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. \u003c/P\u003e\u003cP\u003eRealism, relativism, and integrity are discussed in essays on \u003cI\u003eDragnet, Naked City, The Fugitive,\u003c/I\u003e and \u003cI\u003eSecret Agent\u003c/I\u003e. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on \u003cI\u003eMiami Vice, The Sopranos, Carnivale,\u003c/I\u003e and \u003cI\u003e24\u003c/I\u003e. The methods of crime scene investigation in\u003cI\u003e The X-Files\u003c/I\u003e and \u003cI\u003eCSI\u003c/I\u003e are examined, followed by an exploration of autonomy, selfhood, and interpretation in \u003cI\u003eThe Prisoner, Twin Peaks, The X-Files,\u003c/I\u003e and \u003cI\u003eMillennium\u003c/I\u003e.\u003c/P\u003e\u003cP\u003eWith this focus on the philosophical dimensions of crime, espionage, and science fiction series, \u003cI\u003eThe Philosophy of TV Noir\u003c/I\u003e draws out the full implications of film noir and establishes TV noir as an art form in its own right.\u003c/P\u003e |
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