January 2012, Wiley-Blackwell
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“It is the most comprehensive and lucid study of the genre I have read … I was also impressed with Luhr's handling of the shift in Hollywood from the 1930s to 1940s. The morally compromised "heroes" of the 1940s were unthinkable in the 1930s. Like all good film critics, Luhr makes me want to see my favorite films again because he has shown me things I missed. And then there are all those films I didn't see that are now on my list because of William Luhr.” (Carl Rollyson, 16 June 2012)
"A superb guide to the main streets, back alleys, penthouses and abandoned lots of film noir. A comprehensive survey of canonical movies, written with a fan's eye for noir's killer-cool and an academic's desire for contextual precision and analytical insight."
—Peter Stanfield, University of Kent
"William Luhr is the intrepid sleuth of cinema studies, tracking down film noir under all the aliases – classic noir, pre-noir, neo-noir – that its infinite variety has produced. Writing with energy, clarity, and verve, Luhr explodes narrow conceptions of noir as conclusively as the Great Whatsit blew up postwar innocence in Kiss Me Deadly. Carry a copy of this timely, spirited book in your trenchcoat. It is a boon for film scholars, general readers, and movie buffs alike."
—David Sterritt, Chairman, National Society of Film Critics
"Informed by a rich body of previous scholarship, conceptually sophisticated, yet written with grace and clarity, Film Noir by William Luhr provides an ideal introduction for students and fans to the dark corner of American culture represented by these gloriously perverse crime films."
—Jerry W Carlson, PhD, The City College & Graduate Center CUNY
"William Luhr, who knows all the many questions raised by film noir, supplies lucid, elegant, provocative answers. His knowledge is deep, his comments far-ranging. This is an essential addition to the vast literature on the genre."
—Charles Affron, New York University
"Writing with broad expertise and deep sensibility, Professor Luhr heightens our nostalgic delight in noir films while also pointing to the lost spectatorial experience of film noir's once present tenseness."
—Chris Straayer, New York University Department of Cinema Studies