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Our first major projects were the distribution of Julian Rosefeldt’s Manifesto starring Cate Blanchett in 13 different roles, as well as Executive Production on the BAFTA-winning I Am Not a Witch by Rungano Nyoni that had its world premiere in the Directors Fortnight section of the Cannes Film Festival and went on to be the UK’s entry for the 91st Academy Awards. We focus on creating connections between content, context and curation, with a particular emphasis on pressing social issues of our time through the power of cinema, creative freedom and cultural expression.Įstablished in 2017, Modern Films was launched as an alternative to the traditional model of the film value chain to work across borders, media and windows.

Modern Films is a London-based film production, distribution, event cinema and virtual screening platform company, working with rising and established talent from around the world and bringing innovative global stories to local audiences. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture-and will captivate admirers of a vital period in American cinema.MODERN FILMS: EXPANDING THE CINEMA EXPERIENCE He convincingly shows that Hollywood’s dark thrillers of the postwar decades were determined by the same forces that shaped the city itself.Įxploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis.

The originality of Dimendberg’s approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity-particularly the urban landscape. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Film noir remains one of the most enduring legacies of 1940s and ’50s Hollywood.