Night Scenes: Contemporary Noir Photography

Night Scenes: Contemporary Noir Photography NIGHT SCENES Contemporary Noir Photography Kristine Somerville Scott Francis, Gansevoort and Washington Street, 2015 Fred Lyon, Novelty Shop, 1947 When visiting a city, I take solitary, late-night walks, enjoying the feeling of being both lost and at home. Cities at night with their empty streets -be come a dreamscape of shadow and light. With your senses on high alert, the sights and sounds are magnied fi . Shadows rise up from sidewalks to take on ominous abstract shapes before disappearing. Car alarms, dogs barking, and throbbing music all sound louder, otherworldly. The cold of the wind tearing between buildings is crisper, and the steam from grates is thicker, taking longer to dissipate. You are alone, and then, s - ud denly, a group of drunken revelers emerges from the darkness, and they brush past you. A man in a terrycloth bathrobe ambles up behind you, pulled along by a dog at the end of a leash. A drag queen in a sequined minidress, a blond wig in one hand, high heels in the other, saunters by 1 04 THE MIS SOURI RE V IE W • W INTER 2 019 Fred Lyon, Foggy Night, 1954 and then buzzes into http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Missouri Review University of Missouri

Night Scenes: Contemporary Noir Photography

The Missouri Review, Volume 42 (4) – Jan 16, 2020

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Publisher
University of Missouri
Copyright
Copyright © The Curators of the University of Missouri.
ISSN
1548-9930

Abstract

NIGHT SCENES Contemporary Noir Photography Kristine Somerville Scott Francis, Gansevoort and Washington Street, 2015 Fred Lyon, Novelty Shop, 1947 When visiting a city, I take solitary, late-night walks, enjoying the feeling of being both lost and at home. Cities at night with their empty streets -be come a dreamscape of shadow and light. With your senses on high alert, the sights and sounds are magnied fi . Shadows rise up from sidewalks to take on ominous abstract shapes before disappearing. Car alarms, dogs barking, and throbbing music all sound louder, otherworldly. The cold of the wind tearing between buildings is crisper, and the steam from grates is thicker, taking longer to dissipate. You are alone, and then, s - ud denly, a group of drunken revelers emerges from the darkness, and they brush past you. A man in a terrycloth bathrobe ambles up behind you, pulled along by a dog at the end of a leash. A drag queen in a sequined minidress, a blond wig in one hand, high heels in the other, saunters by 1 04 THE MIS SOURI RE V IE W • W INTER 2 019 Fred Lyon, Foggy Night, 1954 and then buzzes into

Journal

The Missouri ReviewUniversity of Missouri

Published: Jan 16, 2020

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