The Film Noir Foundation is a non-profit public benefit corporation created as an educational resource regarding the cultural, historical, and artistic significance of film noir as an original American cinematic movement. It is our mission to find and preserve films in danger of being lost or irreparably damaged, and to ensure that high quality prints of these classic films remain in circulation for theatrical exhibition to future generations.
That's the high-toned legalese. Here are the facts: Even as the high-tech revolution lets us own vast film libraries on DVD, the risk grows greater all the time that 35mm prints of some films will fall into disuse and eventually disintegrate—especially lesser-known titles that have slipped through the cultural cracks, but are worthy of rediscovery.
As a focal point of the classic film noir revival, the Foundation serves as a conduit between film companies and repertory cinemas still eager to screen these films in 35mm. Revenues generated by ticket sales encourage studios film archives to strike new prints of films that are at risk of disappearing from public view, either through neglect or scarcity.
Once these films are unearthed and returned to circulation, the chances exponentially increase that they will be reissued on DVD, available in pristine, affordable form for future generations of film-lovers.
NEW: VIDEO ARCHIVE Interviews with noir stars!
For an ever-expanding catalog of noir-related video, ranging from exclusive interviews, to NOIR CITY guest appearances, to short films inspired by film noir, go here.
Outlaw Cinema: How Three Pairs
of Fugitive Lovers Changed the Course of Movie History
"For a glimmering moment in the anything-seemed possible 1960's, Jean-Luc Godfard was going to direct Bonnie and Clyde. To screenwriters David newman and Robert Benton, it made sublime, subversive sense." Eddie Muller explores the lasting legacy of Breathless in this article originally published in the TCM Classic Film Festival program. READ.
IN THE NOIR CITY SENTINEL
Subscribe to the Film Noir Foundation's quarterly electronic magazine, the NOIR CITY SENTINEL and get the finest and most fun writing on film noir in the world. Start by adding your name to our mailing list and then making a donation of $10 or more to the FNF. Below are PDFs of some recent articles as they appeared in the Sentinel.
A Common Language
Imogen Sara Smith takes an in-depth look at the American expatriate directors working in British film noir, comparing and contrasting the films with their American brethren. READ
Caged: Classic, Not Camp
Alan K. Rode traces the production history of a favorite noir, asserting that the film still holds up as a serious drama, despite being marketed on DVD as silly camp. READ
Heavyweight among Heavies
Eddie Muller profiles Paul Stewart, one of noir's most distinctive faces and voices, a man as talented behind the scenes as he was onscreen. READ
The Last "Classic Film Noir
An unknown gem rediscovered! No, wait, it's more complicated and interesting than that... Join Gary Deane as he examines The Scarlet Hour, the last noir made in the "old style." READ.
The Three Faces of Jack
The origins of Jack Webb's for-better-or-worse icon status are traced by Anne Hockens in another installment of her Radio Noir series. READ.
Kenneth Fearing, the Poet of Noir
Film noir isn't just about hard-boiled detectives. It also sprung from hard-boiled poet Kenneth Fearing, whose novel, The Big Clock, was the basis for one of noir's most unusual films. Ben Terrall examines the life and times of noir's apostle of blank verse and black comedy. READ.