附註:Includes bibliographical references (pages 261-273) and index.
Preface: Mapping the underground culture -- Introduction: Within the shell of the old: the creation of the Cold War consensus and the emergence of the underground culture -- Part One. The killer inside me: roman noir authors. Slipping deeper into hell: Jim Thompson's theology of absurdity -- "It's always for nothing": the paperback worldview of Charles Willeford -- Part Two. Progress and its discontents: Science fiction and fantasy authors. "I'm being ironic": imperialism, mass culture, and the fantastic world of Ray Bradbury -- The devil and Charles Beaumont -- Part Three. Outside looking in: Minority artists. "So much nonsense must make sense": the black vision of Chester Himes -- "Some torture that perversely eased": Patricia Highsmith and the everyday schizophrenia of American life -- Part Four. Little shop of horrors: Independent filmmakers. "Lots of socko": the independent cinematic vision of Samuel Fuller -- Roger Corman's low-budget modernism -- Part Five. Cracks in the consensus: Liberal artists. Richard Condon and the paranoid surreal style in American politics -- Another dimension: Rod Serling, consensus liberalism, and The Twilight Zone -- Conclusion: the emancipation of dissonance.
摘要:"In America Noir David Cochran details how ten writers and filmmakers probed the Cold War's cultural contradictions and indirectly challenged its social pieties: the superiority of American democracy, the benevolence of free enterprise, and the sanctity of the suburban family." "Cochran argues that these artists pioneered a detached, ironic sensibility in fictions that radically juxtaposed cultural references and blurred the distinctions between "high" and "low" art. Their works would play a crucial role in the emergence of not only a 1960s counterculture but also the postmodernism of a later era."--Jacket.
