/>In the groves of academe, studying popular culture is often the preserve of nutty left-wing professors performing exotic Marxist autopsies on the imperialist dynamics of Donald Duck comic books. Academic conservatives are teaching and writing about Homer the Greek poet, not the cartoon, which is important but oftentimes leaves their audience without a learned guide to analyze the themes of our modern culture.
Fortunately, there is Thomas Hibbs, a professor of ethics and culture at Baylor University -- and a film critic for National Review Online. Earlier this year, the Spence Publishing folks in Dallas published a valuable and fascinating book by the professor called "Arts of Darkness: American Noir and the Quest for Redemption."
The book's primary theme is that while the casual filmgoer may look at film noir and see only dark films mired in hopelessness, there is a strain in many noir films of a quest to arrive at a moral sense of the world. Even characters that are destroyed by their own selfish desires can be found searching for a moral order.
In films from the golden era of Hollywood (like "Double Indemnity") to the modern era (from "The Usual Suspects" to the films of M. Night Shyamalan), Hibbs teases out themes beneath the film's machinations of evil that suggest themes of redemption, of a search for God and a discovery of the devil's handiwork.
This is not only deep thinking, it is hopeful thinking. Cultural conservatives looking at the grip of a secular and hedonistic (and often nihilistic) cultural Left on Hollywood's machinery tend to feel a hopelessness of their own. These conservatives have often felt overwhelmed when offering a counterpoint in the cultural debate against Hollywood's tendency to sensationalize and degrade the human quest for love, justice, honor and meaning. Ultimately, they surrender.
But theorists like Hibbs have found hope in the deeper meanings of some of what Hollywood is producing. Finding the positive in film noir shows an interpretive talent, and not a ludicrous optimism. More strikingly, Hibbs sees a positive trend emerging in Hollywood: Tinseltown has discovered there is treasure in the making of epic films. Hollywood may be veering away somewhat from nihilism.
Hibbs quotes a screenwriter from the HBO war series "Band of Brothers" proclaiming, "They're about men and women of unusual vision, individuals who stand for something greater than themselves. Right now Hollywood might have detected a need for stories like that." Hibbs does find it interesting that Hollywood looks to places other than contemporary America for its epic heroes, from "Braveheart" to "Gladiator."