Film Noir:
A Bibliography of Materials in the UC Berkeley Library












Videos
Books
Journal Articles

Articles and Books on Individual films

Videography of film noir in the Media Resources Center

Full-text web articles on film noir

Videos

Film Noir(American Cinema; 7)
This program explores how the film noir genre, which reached its peak in the 1950s, reflected the pessimism and paranoia that were signs of the times. With its roots in German expressionism and its disturbing sense of corruption and urban decay these "black films" were a mirror of the American psyche. 55 min. DVD 371; vhs Video/C 3715

Books

Abbott, Megan E.
The street was mine: white masculinity in hardboiled fiction and film noir New York: Palgrave Macmillan, 2002.
Full-text of this book available online [UC Berkeley users only]
MAIN: PS374.D4 A23 2002

Agostinelli, Alessandro.
Una filosofia del cinema americano : individualismo e noir Pisa : ETS, 2004. Scritture della visione ; 6
PFA PN1995.9.F54.A36 2004

Alloway, Lawrence
Violent America: The Movies, 1946-1964. New York, Museum of Modern Art; distributed by New York Graphic Society, Greenwich, Conn. [1971]
Main Stack PN1993.5.U6.A84

Arthur, Paul.
"The Gun in the Briefcase: Or, the Inscription of Class in Film Noir." The Hidden Foundation: Cinema and the Question of Class. Edited by David E. James and Rick Berg. Minneapolis: University of Minnesota Press, c1996. pp: 90-113.
Full-text available online [UC Berkeley users only]
UCB Main PN1995.9.P6 H5 1996

Arthur, Paul.
Murder's Tongue: Identity, Death, and the City in Film Noir." In: Violence and American cinema / edited by J. David Slocum. pp: 153-75.New York: Routledge, 2001.AFI film readers.
Main Stack PN1995.9.V5.V56 2001

Auerbach, Jonathan
Dark borders : film noir and American citizenship / Jonathan Auerbach. Durham [N.C.] : Duke University Press, 2011.
Main (Gardner) Stacks PN1995.9.F54 A947 2011
Contents: Gestapo in America : Confessions of a Nazi spy and Stranger on the third floor -- White-collar murder : Double indemnity -- Cuba, gangsters, vets, and other outcasts of the islands : The chase and Key Largo -- North from Mexico : Border incident, Hold back the dawn, Secret beyond the door, and Out of the past -- Bad boy patriots : This gun for hire, Ride the pink horse, and Pickup on South Street.

Ballinger, Alexander.
The rough guide to film noir London ; New York : Rough Guides, 2007.
Media Center: PN1995.9.F54 B35 2007

Bassoff, Lawrence.
Crime Scenes: Movie Poster Art of the Film Noir: The Classic Period, 1941-1959 / written and collected by Lawrence Bassoff; foreword with Robert Wise. Beverly Hills, CA: L. Bassoff Collection, c1997.
UCB Moffitt f PN1995.9.P5 B379 1997

Beverly, William
On the lam: narratives of flight in J. Edgar Hoover's America / William Beverly. Jackson: University Press of Mississippi, c2003.
Main Stack PS374.F83.B48 2003

Biesen, Sheri Chinen
Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Bondebjerg, Ib
"Danish film noir: style, themes and narration." In: Film style and story: a tribute to Torben Grodal / edited by Lennard Hejbjerg & Peter Schepelern. Copenhagen: Museum Tusculanum Press, 2003.
Main Stack PN1993.5.D4.F55 2003

The Book of Film Noir
Edited by Ian Cameron. New York; Continuum, 1993.
UCB Moffitt PN1995.9.F54 B66 1993

Boozer, Jack.
"Entrepreneurial Femmes Fatales in the Film Noir Tradition." In: Career Movies : American Business and the Success Mystique Austin : University of Texas Press, 2002.
Full text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1995.9.B87 B66 2002)

Borde, Raymond.
Panorama du Film Noir Americain, 1941-1953 San Francisco: City Lights Books, c2002.
UCB Main PN1995.9.F54 B67 2002

Borde, Raymond.
Panorama du Film Noir Americain, 1941-1953 / Raymond Borde et Etienne Chaumeton; pref. de Marcel Duhamel. Paris: Flammarion, 1988, c1955.
UCB Main PN1995.9.D4 B64 1988

Bould, Mark.
Film noir : from Berlin to Sin City London ; New York : Wallflower, 2005.
MAIN: PN1995.9.F54 B68 2005
MOFF: PN1995.9.F54 B68 2005
PFA : PN1995.9.F54 B68 2005;

Britton, Wesley A. (Wesley Alan)
" McCarthy, television, and film noir." In: Beyond Bond : spies in fiction and film / Westport, Conn. : Praeger, c2005.
Main Stack PN1995.9.S68.B75 2005
Contents: The 39 steps -- Maugham, Ambler, and Greene -- On the air, on the screen, and in word-balloons -- McCarthy, television, and film noir -- "Cloak and swagger" -- From George Smiley to Bernard Sampson -- The Cold War inside out -- From the "evil empire" to "the great Satan" -- Big screen pyrotechnics and eyes in the sky -- More fact than fiction.

Broe, Dennis.
Film noir, American workers, and postwar Hollywood / Dennis Broe ; foreword by Richard Greenwald and Gainesville : University Press of Florida, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

Bronfen, Elisabeth.
"Femme Fatale: Negotiations of Tragic Desire." In: Rethinking tragedy / edited by Rita Felski. Baltimore : Johns Hopkins University Press, 2008.
Main (Gardner) Stacks PN1892 .R46 2008

Bronfen, Elisabeth.
Liebestod und Femme fatale : der Austausch sozialer Energien zwischen Oper, Literatur und Film Frankfurt am Main : Suhrkamp, 2004.
MAIN: PN1995.9.W6 B76 2004

Brook, Vincent
Driven to darkness : Jewish émigré directors and the rise of film noir / Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

Buhle, Paul
"Politics and mythology of film art: the noir era."In: Radical Hollywood: the untold story behind America's favorite movies / Paul Buhle and Dave Wagner. New York: New Press, 2002.
Main Stack PN1995.9.P6.B84 2002

Buss, Robin.
French Film Noir / Robin Buss. London; New York; M. Boyars, 1994.
UCB Main PN1995.9.F54 B87 1994
UCB Moffitt PN1995.9.F54 B87 1994

Butler, David
Jazz noir: listening to music from Phantom lady to The last seduction Westport, Conn.: Praeger, 2002.
MAIN: PN1995.9.J37 B88 2002

Chopra-Gant, Mike.
Hollywood genres and postwar America : masculinity, family and nation in popular movies and film noir London ; New York : I.B. Tauris Pub. ; New York : Distributed in the U.S. by Palgrave Macmillan, 2006.
Full-text of this book available online [UC Berkeley users only]
MAIN: PN1995.9.M46 C43 2006
Table of contents http://www.loc.gov/catdir/toc/fy0605/2006295394.html

Christopher, Nicholas
Somewhere in the Night: Film Noir and the American City / by Nicholas Christopher. New York: Free Press, c1997.
UCB Moffitt PN1995.9.F54 C54 1997

Cochran, David
America Noir: underground writers and filmmakers of the postwar era Washington [D.C.]: Smithsonian Institution Press, c2000.
Main Stack PS374.P63 C63 2000

Collier, Joelle
"The noir East: Hong Kong's transmutation of a Hollywood Genre?" In: Hong Kong film, Hollywood and the new global cinema : no film is an island / edited by Gina Marchetti and Tan See Kam. London ; New York : Routledge, 2007.
Main Stack PN1993.5.C4.H66 2007

Conley, Tom
"Noir in the Red and the Nineties in the Black." In: Film genre 2000: new critical essays / edited by Wheeler Winston Dixon. pp: 193-210 Albany: State University of New York Press, c2000. Series title: The SUNY series, cultural studies in cinema/video.
Main Stack PN1995 .F45787 2000

Corber, Robert J.
Homosexuality in Cold War America: Resistance and the Crisis of Masculinity / Robert J. Corber. Durham: Duke University Press, 1997. Series title: New Americanists.
UCB Main HQ76.3.U5 C65 1997

Covey, William
"Girl Power: Female-Centered Neo-Noir." In: Film Noir Reader 2 / Edited by Alain Silver & James Ursini. pp: 310-27 1st Limelight ed. New York: Limelight Editions, 1999.
UCB Main PN1995.9.F54 F58 1999 Main Stack

Crime fiction and film in the Sunshine State; Florida noir
Edited by Steve Glassman and Maurice J. O'Sullivan. Bowling Green: Bowling Green State University Popular Press, c1997
UCB Main PS374.D4 C74 1997

Crowther, Bruce
Film Noir: Reflections in a Dark Mirror / Bruce Crowther. New York: Continuum, 1989, c1988.
UCB Main PN1995.9.F54 C76 1989
UCB Moffitt PN1995.9.F54 C76 1989

Davidson, Michael
"Phantom limbs : film noir and the disabled body." In: The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic'. Columbus : Ohio State University Press, c2010.
Pacific Film Archive PN1995.9.H34 P76 2010

Davis, Blair
"Horror meets noir: the evolution of cinematic style, 1931-1958." In: Horror film: creating and marketing fear / edited by Steffen Hantke. Jackson: University Press of Mississippi, 2004.
Main Stack PN1995.9.H6.H674 2004

Deming, Barbara
Running Away From Myself; A Dream Portrait of America Drawn From the Films of the Forties. New York, Grossman, 1969.
Main Stack PN1993.5.U6.D4

Desser, David
"The wartime films of John Huston: film noir and the emergence of the therapeutic." In: Reflections in a male eye: John Huston and the American experience / edited by Gaylyn Studlar and David Desser. Washington: Smithsonian Institution Press, c1993.
Main Stack PN1998.3.H87.R44 1993
Moffitt PN1998.3.H87.R44 1993

Dickos, Andrew
Street with no name: a history of the classic American film noir / Andrew Dickos. Lexington: University Press of Kentucky, c2002.
Main Stack PN1995.9.F54.D53 2002
Contents from Google books

Dimendberg, Edward.
Film noir and the spaces of modernity / Edward Dimendberg. Cambridge, Mass.: Harvard University Press, 2004.
Main Stack PN1995.9.F54.D56 2004
MOFF: PN1995.9.F54 D56 2004
Contents via Google Books

Dixon, Wheeler Winston
"The Endless embrace of Hell: Hopelessness and betrayal in film noir." In: Cinema and modernity / edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2006.
Main Stack PN1994.C4885 2006

Dixon, Wheeler Winston
Film noir and the cinema of paranoia / Wheeler Winston Dixon. New Brunswick, N.J. : Rutgers University Press, 2009.
Main (Gardner) Stacks PN1995.9.F54 D59 2009

Dixon, Wheeler W.
"House of Strangers: The Family in Film Noir." In: A family affair : cinema calls home / edited by Murray Pomerance. London ; New York : Wallflower, 2008.
Main (Gardner) Stacks PN1995.9.F35 F36 2008

Dixon, Wheeler Winston
"Night World: New York as Noir Universe." In: City that never sleeps : New York and the filmic imagination / edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.N49 C58 2007

Dumont, Herve.
Robert Siodmak: Le Maitre du Film Noir / Herve Dumont. Lausanne: Editions l'Age d'homme, 1981. Series title: Histoire et Theorie du Cinema.
NRLF B 3 569 739

Duncan, Paul
Film Noir Pocket Essentials, 2000.
Full-text of this book available online[UC Berkeley users only]

Dyer, Richard
"Homosexuality and film noir -- Victim: hegemonic project." In: The matter of images: essays on representation 2nd ed. London: Routledge, 2002.
Main Stack PN1995.9.H55.D93 2002

Ehrlich, Matthew C.
"News in a Noir World." In: Journalism in the movies Urbana: University of Illinois Press, c2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0412/2003026963.html
Main Stack PN1995.9.J6.E38 2004

European film noir
Edited by Andrew Spicer. Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2007
Main Stack PN1995.9.F54.E87 2007

Faison, Stephen E.
Existentialism, film noir, and hard-boiled fiction / Stephen Faison. Amherst, N.Y. : Cambria Press, c2008.
Main (Gardner) Stacks PN1995.9.F54 F35 2008

Fay, Jennifer.
Film noir : hard-boiled modernity and the cultures of globalization / Jennifer Fay and Justus Nielan London ; New York : Routledge, 2010.
Moffitt PN1995.9.F54 F39 2010

Film Noir: An Encyclopedic Reference to the American Style
Edited by Alain Silver and Elizabeth Ward; co-editors, Carl Macek and Robert Porfirio. 3rd ed., rev. and expanded ed. / co-editor third edition, James Ursini. Woodstock, N.Y.: Overlook Press, 1992.
UCB Main PN1993.5.U6 F5 1992
UCB Moffitt PN1993.5.U6 F5 1992

Film Noir Reader
Edited by Alain Silver and James Ursini. New York: Limelight Editions, c1996.
UCB Main PN1995.9.F54 F57 1996

Film Noir Reader 2
Edited by Alain Silver & James Ursini. 1st Limelight ed. New York: Limelight Editions, 1999.
PN1995.9.F54 F58 1999 Main Stack

Film noir reader 3: interviews with filmmakers of the classic noir period
Edited by Robert Porfirio, Alain Silver & James Ursini.New York: [Great Britain]: Limelight Editions, 2002.
Main Stack PN1995.9.F54.F573 2002

Film noir reader 4
Edited by Alain Silver and James Ursini. 1st limelight ed. [Pompton Plains] N.J.: Limelight Editions; [Milwauke, Wisc.]: Distributed by Hal Leonard, 2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0414/2004002792.html
MAIN: PN1995.9.F54 F64 2004
Moffitt PN1995.9.F54.F64 2004

Flory, Dan
"The epistemology of race and Black American film noir: Spike Lee's Summer of Sam as lynching parable." In: Film and knowledge: essays on the integration of images and ideas / edited by Kevin L. Stoehr. Jefferson, N.C.: McFarland, c2002.
Main Stack PN1994.S8176 2002
PFA PN1994.F4255 2002
Critical race theorists Charles Mills, Lewis Gordon, and David Theo Goldberg have sketched an epistemology of racialized thinking such that whiteness is characterized as a cognitive blindness with respect to the moral. Not knowing the relevant moral facts due to white privilege thus obscures knowing what the proper moral action is. The essay argues that, similarly, Spike Lee's film noir-influenced Summer of Sam critiques a group of young white men whose fear of difference prevents them from recognizing the relevant moral facts. The film thus performs philosophical work by broadening criticisms of race to include analyzing fear of difference.

Flory, Dan
Philosophy, Black film, film noir University Park, Pa. : Pennsylvania State University Press, c2008.
MAIN: PN1995.9.N4 F59 2008

Fotsch, Paul Mason
"Film noir and the hidden violence of transportation in Los Angeles." In: Watching the traffic go by : transportation and isolation in urban America / Paul Mason Fotsch. Austin : University of Texas Press, 2007.
Full text available online [UCB users only]
Environ Dsgn TA1023.F68 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006008602.html

Freedman, Carl
"Marxism, cinema and some dialects of science fiction and film noir." In: Red planets : Marxism and science fiction / edited by Mark Bould and China Miéville. Middletown, Conn. : Wesleyan University Press, c2009.
Main (Gardner) Stacks PN3433.6 .R43 2009

Garrett, Roberta
"Neo-Noir and Noir-Lite: Masculinity and Postmodernist Aesthetics in Recent Noir." In: Postmodern chick flicks : the return of the woman's film / Roberta Garrett. Basingstoke ; New York : Palgrave Macmillan, 2007.
Main (Gardner) Stacks PN1995.9.W6 G37 2007

Gates, Philippa
"The maritorious melodrama: the female detective in 1940s film noir." In: Detecting women : gender and the Hollywood detective film / Philippa Gates. Albany : SUNY Press, c2011.
Main (Gardner) Stacks PN1995.9.D4 G385 2011

Gifford, Barry
The Devil Thumbs a Ride, and Other Unforgettable Films / Barry Gifford. 1st ed. New York: Grove Press, 1988.
UCB Main PN1995.9.F54 G541 1988
UCB Moffitt PN1995.9.F54 G54 1988

Gifford, Barry
Out of the past: adventures in film noir / Jackson, Miss.: University Press of Mississippi, c2001.
MAIN: PN1995.9.F54 G54 2001

Gow, Gordon
Hollywood in the Fifties New York, A. S. Barnes [1971 (Series: The International film guide series)
Main Stack PN1993.5.U6.G6 NRLF #: $B 384 349M

Guerif, Francois.
Le Film Noir Americain / Francois Guerif; pref., Alain Corneau. [Bordeaux]: Editions H. Veyrier, c1979.
UCB Main PN1995.9.G3 .G8

Hannsberry, Karen Burroughs
Femme Noir: Bad Girls of Film / by Karen Burroughs Hannsberry. Jefferson, N.C.: McFarland, c1998.
UCB Main PN1995.9.W6 H26 1998

Hanson, Helen.
Hollywood heroines : women in film noir and the female gothic film London ; New York : I.B. Tauris : In the United States and Canada distributed by Palgrave Macmillan, 2007.
Full-text available online (UC Berkeley users only)
MAIN: PN1995.9.F54 H367 2007
MOFF: PN1995.9.F54 H367 2007

Hanson, Philip
"The arc of national confidence and the birth of film noir, 1929-41." In: This side of despair : how the movies and American life intersected during the Great Depression / Philip Hanson. Madison [NJ] : Fairleigh Dickinson University Press, c2008.
Main (Gardner) Stacks PN1993.5.U6 H343 2008

Hare, William
Early film noir: greed, lust and murder Hollywood style / William Hare; foreword by Ken Annakin. Jefferson, N.C.: McFarland, c2003.
Main Stack PN1995.9.F54.H37 2003

Hare, William
L.A. noir: nine dark visions of the City of Angels / William Hare. Jefferson, N.C.: McFarland, c2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0414/2004002806.html
MAIN: PN1995.9.F54 H39 2004
Moffitt PN1995.9.F54.H39 2004
PFA : PN1995.9.F54 H39 2004

Harvey, Sylvia
"Woman's place: the absent family of film noir." In: Movies and mass culture / edited and with an introduction by John Belton. p. 171-82. New Brunswick, NJ: Rutgers University Press, c1996. Rutgers depth of field series.
Main Stack PN1995.9.S6.M68 1996

Hibbs, Thomas S.
Arts of Darkness : American noir and the quest for redemption Dallas, Tex. : Spence Publishing, 2008.
MAIN: PN1995.9.F54 H53 2008

Hirsch, Foster.
The Dark Side of the Screen: Film Noir / Foster Hirsch. New York, N.Y.: Da Capo Press, 1983. Series title: A Da Capo paperback.
UCB Moffitt PN1995.9.G3 H5 1983
contents via Google books

Hockley, Luke
"Film noir: archetypes or stereotypes?" In: Jung & film: post-Jungian takes on the moving image / [edited by] Christopher Hauke and Ian Alister. Hove, East Sussex; New York: Brunner-Routledge, 2001.
Main Stack PN1995.J86 2001

Hughes, Howard.
Crime wave: the filmgoers' guide to the great crime movies / Howard Hughes. London ; New York : I.B. Tauris ; New York : Distributed by Palgrave Macmillan, 2006.
Full text available online [UCB users only]

Hunter, Stephen
"Film Noir." In: Violent screen: a critic's 13 years on the front lines of movie mayhem / by Stephen Hunter. Baltimore, Md.: Bancroft Press, c1995.
Main Stack PN1995.9.V5.H86 1995

Ingrasci, Hugh J.
"From Picaro to Private Eye: The Outsider's Literary Mutations as Anti-Hero from 16th Century Rogue to 20th Century Hard-Boiled/NOIR Detective." The image of the outsider in literature, media, and society : selected papers / edited by Will Wrigh Society for the Interdisciplinary Study of Social Imagery. Conference (12th : 2002 : Colorado Springs, Colo.) Pueblo, Colo. : Society for the Interdisciplinary Study of Social Imagery, [2002]
Main (Gardner) Stacks PN56.5.O95 S63 2002

Irwin, John T.
Unless the threat of death is behind them : hard-boiled fiction and film noir. Baltimore : Johns Hopkins University Press, 2006.
Full-text of this book available online [UC Berkeley users only]
MAIN: PS374.D4 I78 2006
Table of contents: http://www.loc.gov/catdir/toc/ecip0610/2006008094.html

Johnson, Kevin
The dark page : books that inspired American film noir, (1940-1949) New Castle, DE : Oak Knoll Press, 2007.
MAIN: PS374.D4 J64 2007

Karimi, Amir Massoud.
Toward a Definition of the American Film Noir (1941-1949) / A. M. Karimi. New York: Arno Press, 1976, c1971. Series title: Dissertations on Film Series.
UCB Main PN1993.5 .U6K371 1976

Keaney, Michael F.
British film noir guide Jefferson, N.C. : McFarland, c2008.
MAIN: PN1995.9.F54 K427 2008

Keaney, Michael F.
Film noir guide: 745 films of the classic era, 1940-1959 / Michael F. Keaney. Jefferson, N.C.: McFarland, c2003.
Main Stack PN1995.9.F54.K43 2003

Keating, Patrick
Hollywood lighting from the silent era to film noir / Patrick Keating. New York : Columbia University Press, c2010.
Main (Gardner) Stacks New books TR891 .K43 2010

Kennedy, Barbara
"Post-feminist futures in film noir." In: The body's perilous pleasures: dangerous desires and contemporary culture / editor, Michelle Aaron.Edinburgh: Edinburgh University Press, c1999.
Main Stack PN1995.9.B62.B63 1999

Klein, Norman M.
The history of forgetting : Los Angeles and the erasure of memory / Norman M. Klein. London ; New York : Verso, c1997.
Main Stack F869.L857.K58 1997
Bancroft F869.L857.K58 1997
Contents via Google books

Kroeber, Karl.
"Magnifying Criminality: Fargo, Film Noir, and A Perfect World." In: Make believe in film and fiction : visual vs. verbal storytelling / Karl Kroeber.

Krutnik, Frank
In a Lonely Street: Film Noir, Genre, Masculinity / Frank Krutnik. London; New York: Routledge, 1991.
UCB Main PN1995.9.F54 K6 1991
Full-text of this book available online [UC Berkeley users only]
UCB Moffitt PN1995.9.F54 K6 1991
Content from Google books

Krutnik, Frank
"Something more than night: tales of the noir city." In: The cinematic city / edited by David B. Clarke. London; New York: Routledge, 1997.
Environ Dsgn PN1995.9.C513.C46 1997
Main Stack PN1995.9.C513.C46 1997

Langman, Larry.
A Guide to American Crime Films of the Forties and Fifties / Larry Langman and Daniel Finn. Westport, Conn.: Greenwood Press, 1995. Bibliographies and indexes in the performing arts; no. 19
Main Stack PN1995.9.D4.L35 1995

Lee, Raymond.
Gangsters and Hoodlums; The Underworld in the Cinema, by Raymond Lee and B. C. Van Hecke. With a foreword by Edward G. Robinson. South Brunswick [N.J.]: A. S. Barnes, c1971.
Main Stack PN1995.9.G3.L41 1971

Leland, John.
"Would a hipster hit a lady? Pulp fiction, film noir and gangsta rap." In: Hip, the history 1st ed. New York: Ecco, c2004.
Main Stack E169.1.L527 2004
Moffitt E169.1.L527 2004

Levy, Emanuel
"The resurrection of noir." In: Cinema of outsiders: the rise of American independent film / Emanuel Levy. New York: New York University Press, c1999.
Full-text of this book available online [UC Berkeley users only]
Main Stack PN1995.9.E96.L43 1999

Lott, M. Ray
"Film noir, feminism and private heat." In: Police on screen : Hollywood cops, detectives, marshals and rangers / M. Ray Lott. Jefferson, N.C. : McFarland & Co., c2006.
Main Stack PN1995.9.P57.L68 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0611/2006010758.html

Luhr, William.
Raymond Chandler and Film / William Luhr. 2nd ed. Tallahassee: Florida State University Press; Gainesville, FL; University Presses of Florida [distributor], c1991.
Main Stack PS3505.H3224.Z69 1991

Lyons, Arthur.
Death on the cheap: the lost B movies of film noir [New York]: Da Capo Press, c2000.
Main Stack PN1995.9.F54 L96 2000

Martin, Nina K.
"The Subject of Passion, the Object of Murder: Soft-core's Refashioning of the Gothic and Film Noir Genres." In: Sexy thrills : undressing the erotic thriller / Nina K. Martin. Urbana : University of Illinois Press, c2007.
Main (Gardner) Stacks PN1995.9.S45 M33 2007

Martin, Nina K.
"The Subject of Passion, the Object of Murder: Soft-core's Refashioning of the Gothic and Film Noir Genres." In: Sexy thrills : undressing the erotic thriller / Nina K. Martin. Urbana : University of Illinois Press, c2007.
Main Stack PN1995.9.S45.M33 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0620/2006029376.html

Martin, Richard
Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema / Richard Martin. Lanham, Md.: Scarecrow Press, 1997.
UCB Main PN1995.9.F54 M37 1997

Maxfield, James F.
The Fatal Woman: Sources of Male Anxiety in American Film Noir, 1941-1991. Madison: Fairleigh Dickinson University Press; London: Associated University Presses, c1996.
UCB Main PN1995.9.F44 M38 1996

May, Lary.
" "Outside the groove of history": film noir and the birth of a counterculture." In: The Big tomorrow: Hollywood and the politics of the American way / Lary May. Chicago: University of Chicago Press, c2000.
Main Stack PN1995.9.S6.M343 2000

Mayer, Geoff.
Encyclopedia of film noir Published: Westport, Conn. : Greenwood Press, 2007.
Media Resources Center: PN1995.9.F54 M39 2007
PFA : PN1995.9.F54 M39 2007

McArthur, Colin.
Underworld U.S.A. New York, Viking Press [1972] (Series: Cinema one, 20)
Moffitt PN1995.9.G3.M3

Meehan, Paul
Horror noir : where cinema's dark sisters meet / Paul Meehan. Meehan, Paul, 1948- Jefferson, N.C. : McFarland & Co., c2011.
Main (Gardner) Stacks PN1995.9.F54 M44 2011
Contents: Introduction -- Horror and fantasy elements in classic films noir -- Horror noir in the 1930s -- The Val Lewton/Jacques Tourneur noir legacy -- Horror noir from radioland -- Monster noir -- Gothic and costume noir -- Horror noir in the 1950s -- Hitchcock's psychological ghosts and doppelgängers -- Modern horror noir in the 1960s -- Horror noirs of the 1970s and '80s -- The noir horrors of Hannibal the cannibal -- The mean streets of hell -- Conclusion : horror and film noir: the dark genres.

Meehan, Paul
Tech-noir : the fusion of science fiction and film noir Jefferson, N.C. : McFarland, c2008.
MAIN: PN1995.9.S26 M366 2008

Menegaldo, Gilles
"Flashbacks in Film Noir." In: Crime fictions: Subverted codes and new structures / edited by Francois Gallix and Vanessa Guignery. Paris: Presses de l'universite Paris-Sorbonne, 2004 Collection Sillages critiques.
MAIN: PR830.D4 C75 2004

Miller, Laurence
"Evidence for a British film noir cycle." In: Re-viewing British cinema, 1900-1992: essays and interviews / edited by Wheeler Winston Dixon. p. 155-64. Albany: State University of New York Press, c1994.
Main Stack PN1993.5.G7.R4 1994

Miller, Laurence
"Juvenile delinquency in films during the era of film noir: 1940-1959." In: Images of youth: popular culture as educational ideology / edited by Michael A. Oliker and Walter P. Krolikowski.New York: P. Lang, c2001. Adolescent cultures, school & society; v. 12
Main Stack HQ799.2.M35.I43 2001

Mira, Alberto
"Transformations of the urban landscape in Spanish Film Noir." In: Spaces in European cinema / edited by Myrto Konstantarakos. Exeter, England; Portland, OR: Intellect, 2000.
Main Stack PN1993.5.E8.S69 2000

Monk, Philip
Double-cross: the Hollywood films of Douglas Gordon Toronto: Power Plant, c2003.
PFA: N6797.G67 M65 2003
MAIN: N6797.G66 A4 2003

Morris, Gary.
Film Noir." In: glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture

Mosher, Jerry
"Hard Boilded and Soft Bellied: The Fat Heavy in Film Noir." In: Screening genders / edited and with an introduction by Krin Gabbard and William Luhr. New Brunswick, N.J. : Rutgers University Press, c2008
Main (Gardner) Stacks PN1995.9.S47 S37 2008
Moffitt PN1995.9.S47 S37 2008

Muller, Eddie.
The art of noir: the posters and graphics from the classic era of film noir Woodstock: Overlook Press, 2002.
Main Stack \f PN1995.9.P5 M85 2002;

Muller, Eddie.
Dark city dames: the wicked women of film noir / Eddie Muller. 1st ed. New York: Regan Books, c2001.
Main Stack PN1998.2.M854 2001
Main Stack PN1998.2.M854 2001

Muller, Eddie.
Dark City: The Lost World of Film Noir / Eddie Muller. 1st St. Martin's ed. New York: St. Martin's Griffin, 1998.
UCB Main PN1995.9.F54 M86 1998
Contents from Google books

Munby, Jonathan.
"The Un-American Film Art: Robert Siodmak, Fritz Lang, and the Significance of Film Noir's German Connection." In: Public enemies, public heroes : screening the gangster from Little Caesar to Touch of Evil Chicago : University of Chicago Press, 1999.
MAIN: PN1995.9.G3 M86 1999
MOFF: PN1995.9.G3 M86 1999

Naremore, James.
More Than Night: Film Noir in its Contexts / James Naremore. Updated and expanded ed. Berkeley: University of California Press, 2008
UC users only
Main Stack PN1995.9.F54.N37 2008
Moffitt PN1995.9.F54.N37 2008
UCB Main PN1995.9.F54 N37 1998 [earlier edition]

Naremore, James.
"Hitchcock at the Margins of Noir." In: Alfred Hitchcock: Centenary Essays / edited by Richard Allen and S. Ishii-Gonzales. pp: 263-77 London: British Film Institute, 1999.
UCB Main PN1998.3.H58 A43 1999

Neale, Stephen.
"Film Noir." In: Genre and contemporary Hollywood / edited by Steve Neale. London ; New York : Routledge, 2000.
Full-text available online (UCB users only)
PN1993.5.U6 N436 2000

Neale, Steve, ed.
"Film Noir." In: Genre and contemporary Hollywood / edited by Steve Neale. London : BFI Publishing, 2002.
Full text available online (UC users only)
Main (Gardner) Stacks PN1993.5.U6 G46 2002

Neve, Brian.
"Film Noir and Society." In: Film and politics in America : a social tradition London ; New York : Routledge, 1992.
MAIN: PN1995.9.S6 N46 1992
MOFF: PN1995.9.S6 N46 1992

Nichols, Mary P.
"Woody Allen's film noir light : self-knowledge, crime, and love in the curse of the jade scorpion." In: Woody Allen and philosophy : you mean my whole fallacy is wrong? / edited by Mark T. Conard and Aeon J. Skoble ; foreword by Tom Morris. Chicago : Open Court, c2004.
Main Stack PN1998.3.A45.W67 2004

Noir urbanisms : dystopic images of the modern city
Edited by Gyan Prakash. Princeton : Princeton University Press, c2010.
Environmental Design PN1995.9.F54 N68 2010
Contents: Introduction: imaging the modern city, darkly / Gyan Prakash -- Modernism and urban dystopia. The phantasm of the Apocalypse: Metropolis and Weimar modernity / Anton Kaes -- Sounds like hell: dystopian urban noise / James Donald -- Tlatelolco: Mexico City's urban dystopia / Ruben Gallo -- The aesthetics of the dark city. A regional geography of film noir: urban cystopias on- and off-screen / Mark Shiel -- Oh no, there goes Tokyo: recreational apocalypse and the city in postwar Japanese popular culture / William M. Tsutsui -- Postsocialist urban dystopia? / Li Zhang -- Friction, collision, and the grotesque: the dystopic fragments of Bombay cinema / Ranjani Mazumdar -- Imaging urban crisis. Topographies of distress: Tokyo, c. 1930 / David Ambaras -- Living in dystopia: past, present and future in contemporary African cities / Jennifer Robinson -- Imaging urban breakdown: Delhi in the 1990s / Ravi Sundaram.

Oliver, Kelly
Noir anxiety Minneapolis: University of Minnesota Press, c2003.
Full-text of this book available online [UC Berkeley users only]
UCB Main PN1995.9.F54 O44 2003
PFA : PN1995.9.F54 O44 2003

Orr, John
"Inside out : Hitchcock, film noir and David Lynch." Hitchcock and twentieth-century cinema / John Orr. London ; New York : Wallflower, 2005.
Main Stack PN1998.3.H58.O77 2005
Moffitt PN1998.3.H58.O77 2005

Orr, Stanley
Darkly perfect world : colonial adventure, postmodernism, and American noir / Stanley Orr. Columbus : Ohio State University Press, c2010.
Main (Gardner) Stacks PS374.D4 O77 2010

Ottoson, Robert
A Reference Guide to the American Film Noir, 1940-1958 / Robert Ottoson. Metuchen, N.J.: Scarecrow Press, 1981.
UCB Main PN1993.5.U6 .O9
UCB Moffitt PN1993.5.U6 .O9

Palmer, R. Barton
Hollywood's Dark Cinema: the American Film Noir / R. Barton Palmer. New York: Twayne Publishers; Toronto; Maxwell Macmillan Canada; New York: Maxwell Macmillan International, c1994. Series title: Twayne's filmmakers series.
UCB Main PN1995.9.F54 P36 1994
UCB Moffitt PN1995.9.F54 P36 1994

Palmer, R. Barton
"The sociological turn of adaptation studies: the example of Film noir." In: A companion to literature and film / edited by Robert Stam, Alessandra Raengo. Malden, MA; Oxford: Blackwell Pub., 2004.
MAIN: PN1995.3 .C65 2004; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004017778.html

Palmer, R. Barton
"'The Story You Are about to See Is True': Dragnet, Film Noir and Postwar Realism." In: Television and criticism / edited by Solange Davin and Rhona Jackson. Bristol, UK ; Chicago, IL : Intellect,
Full-text available online (UC Berkeley users only)

Pells, Richard H.
"Night and fog : from German expressionism to film noir." In: Modernist America : art, music, movies, and the globalization of American culture / Richard Pells. New Haven : Yale University Press, c2011.
Main (Gardner) Stacks NX180.G56 P45 2011

Perspectives on Film Noir
Edited by R. Barton Palmer. New York: G.K. Hall; London: Prentice Hall International, c1996.
UCB Main PN1995.9.F54 P36 1994

Perucci, Tony
"'Pretty, Isn't It?': Adapting Film Noir to the Stage." In: Performing adaptations : essays and conversations on the theory and practice of adaptation / edited Newcastle upon Tyne : Cambridge Scholars, 2009.
Main (Gardner) Stacks PN1661 .P47 2009

Phillips, Gene D.
Creatures of darkness: Raymond Chandler, detective fiction, and film noir Lexington: University Press of Kentucky, c2000.
UCB Main PS3505.H3224 Z836 2000
Contents from Google books

Phillips, Gene D.
Out of the shadows : expanding the canon of classic film noir / Gene D. Phillips. Lanham : Scarecrow Press, Inc., 2012. \
Main (Gardner) Stacks PN1995.9.F54 P475 2012
Contents: Prologue: overlooked noir -- City of night: the advent of film noir. The black mask brigade: Dashiell Hammett, hard-boiled fiction, and film noir -- Exploring film noir: Stranger on the third floor and other films -- Nightmare town: Dashiell Hammett's fiction as film noir -- John Huston: The Maltese falcon -- Stuart Heisler: The glass key -- Edward Buzzell: Song of the thin man -- Darkness at noon: representative noir films. Fritz Lang: Ministry of fear and Scarlet Street -- Alfred Hitchcock: Spellbound and Strangers on a train -- George Cukor: A double life -- Billy Wilder: Sunset Boulevard -- Robert Siodmak: The killers (1946) -- Don Siegel: The killers (1964) -- Otto Preminger: Laura and Anatomy of a murder -- Fred Zinnemann: Act of violence -- Stanley Kubrick: The killing -- Orson Welles: The stranger and Touch of evil -- The lower depths: the rise of neo-noir. Dashiell Hammett and neo-noir: The Dain curse and Hammett -- Anthony Minghella: The talented Mr. Ripley -- Liliana Cavani: Ripley's game -- Afterword / by James Welsh.

The philosophy of film noir
Edited by Mark T. Conard ; foreword by Robert Porfirio. Lexington : University Press of Kentucky, c2006.
Main Stack PN1995.9.F54.P55 2006
PFA PN1995.9.F54.P55 2006

The philosophy of neo-noir
Edited by Mark T. Conard. Lexington, Ky. : University Press of Kentucky, c2007.
MAIN: PN1995.9.F54 P56 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip072/2006032084.html

The philosophy of TV noir
Edited by Steven M. Sanders and Aeon J. Skoble. Lexington, Ky. : University Press of Kentucky, c2008.
MAIN: PN1992.8.D48 P45 2008
Contents: Dragnet, film noir, and postwar realism / R. Barton Palmer -- Naked city: the relativist turn in TV noir / Robert E. Fitzgibbons -- John Drake in Greeneland: noir themes in Secret agent / Sander Lee -- Action and integrity in The fugitive / Aeon J. Skoble -- Noir et blanc in color: existentialism and Miami vice / Steven M. Sanders -- 24 and the existential man of revolt / Jennifer L. McMahon -- Carnivale knowledge: give me that old-time noir religion / Eric Bronson -- The Sopranos, film noir, and nihilism / Kevin L. Stoehr -- CSI and the art of forensic detection / Deborah Knight, George McKnight -- Detection and the logic of abduction in The X-files / Jerold J. Abrams, Elizabeth Cooke -- Kingdom of darkness: autonomy and conspiracy in The X-files and Millennium / Michael Valdez Moses -- The prisoner and self-imprisonment / Shai Biderman, William J. Devlin -- Twin Peaks, noir, and open interpretation / Jason Holt.

Photinos, Christine
"1930s-1940s Hard-Boiled Detective Fiction and 1940s-1950s Detective Noir." In: Murder 101 : essays on the teaching of detective fiction / edited by Edward J. Rielly. Jefferson, N.C. : McFarland & Co., c2009.
Main (Gardner) Stacks PS374.D4 M853 2009

Place J.A. & Peterson, L.S.
"Some visual motifs of Film Noir." In: Movies and methods: an anthology / edited by Bill Nichols. Berkeley: University of California Press, c1976
Main Stack PN1994.M71 Library has: v.1-2 (1976-1985)

Place, Janey
"Women in film noir." In: Popular fiction: technology, ideology, production, reading / edited by Tony Bennett. London; New York: Routledge, 1990. Popular fiction series.
Main Stack P91.P63 1990

Pratt, Ray.
"The dark vision of film noir." In: Projecting paranoia: conspiratorial visions in American film / Ray Pratt. Lawrence: University Press of Kansas, c2001.Culture America.
Main Stack PN1995.9.P6.P72 2001
MAIN: PN1995.9.P6 P72 2001

Rabinowitz, Paula.
Black & white & noir: America's pulp modernism New York: Columbia University Press, c2002.
UCB Main MAIN: PN1995.9.F54 R33 2002

Ray, Robert Beverley
"The discrepancy between intent and effect: Film noir, youth rebellion pictures, musicals, and Westerns." In: A certain tendency of the Hollywood cinema, 1930-1980 / Robert Beverley Ray. Princeton, N.J.: Princeton University Press, c1985.
Main Stack PN1993.5.U6.R38 1985
Moffitt PN1993.5.U6.R38 1985

Raymond Chandler on screen: his novels into film
by Stephen Pendo. Metuchen, N.J.: Scarecrow Press, 1976.
NRLF B 3 160 145

Reichert, Tom and Melcher, Charlene
"Film noir, feminism, and the femme fatale: the hyper-sexed reality of Basic instinct."In: Mediated women: representations in popular culture / edited by Marian Meyers. Cresskill, N.J.: Hampton Press, c1999. Hampton Press communication series. Political communication.
Main Stack HQ1421.M43 1999

Renzi, Thomas C.
Cornell Woolrich : from pulp noir to film noir Jefferson, N.C. : McFarland & Co., c2006.
MAIN: PS3515.O6455 Z85 2006
Table of contents http://www.loc.gov/catdir/toc/ecip062/2005031453.html

Rich, Nathaniel
San Francisco noir : the city in film noir from 1940 to the present New York : Little Bookroom, c2005.
MAIN: PN1995.9.F54 R48 2005
PFA : PN1995.9.F54 R48 2005

Richardson, Carl
Autopsy: An Element of Realism in Film Noir / by Carl Richardson. Metuchen, N.J.: Scarecrow Press, 1992.
UCB Main PN1995.9.F54 R5 1992
UCB Moffitt PN1995.9.F54 R5 1992

Richardson, Michael
"Otherness in the Night: Film Noir." In: Otherness in Hollywood cinema / Michael Richardson. New York : Continuum, 2010.
Full-text available online (UC Berkeley users only)

Rosow, Eugene.
Born to Lose: The Gangster Film in America / Eugene Rosow New York: Oxford University Press, 1978
Main Stack PN1995.9.G3.R6

Rosenberg, Norman.
"Law Noir." In: Legal Reelism: Movies as Legal Texts / edited by John Denvir. pp: 280-302. Urbana: University of Illinois Press, c1996.
Main Stack PN1995.9.J8.L45 1996
Moffitt PN1995.9.J8.L45 1996

Rosenberg, Norman.
"The "popular First Amendment" and classical Hollywood, 1930-1960: film noir and "speech theory for the millions"." In: Freeing the First Amendment: critical perspectives on freedom of expression / edited by David S. Allen and Robert Jensen. New York: New York University Press, c1995.
Main Stack KF4772.F744 1995

Sarris, Andrew.
"The Film Noir." In: "You ain't heard nothin' yet": the American talking film, history & memory, 1927-1949 / Andrew Sarris. New York: Oxford University Press, 1998.
Main Stack PN1995.7.S27 1998
Moffitt PN1995.7.S27 1998

Schrader, Paul
"Notes on Film Noir." In Film Genre Reader II. Austin: University of Texas Press, 1995.
UCB Main PN1995 .F45792 1995

Also in: Awake in the dark: an anthology of American film criticism, 1915 to the present / edited by David Denby. 1st ed. New York: Vintage Books, 1977.
Main Stack PN1995.A861
Moffitt PN1995.A861

Also in:Movies and mass culture / edited and with an introduction by John Belton. p. 153-70. New Brunswick, NJ: Rutgers University Press, c1996.Rutgers depth of field series.
Main Stack PN1995.9.S6.M68 1996

See Also:
Trbic, Boris.
"A thousand avenues, dark, seedy and glistening with evening rain: revisiting Paul Schrader's 'Notes On Film Noir'." Australian Screen Education 37 (Winter 2004): 62(7). UC users only

Schwartz, Ronald
Neo-noir : the new film noir style from Psycho to Collateral Ronald Schwartz. Lanham, Md. : Scarecrow Press, 2005.
Main Stack PN1995.9.F54.S387 2005
Table of contents http://www.loc.gov/catdir/toc/ecip059/2005007671.html

Schwartz, Ronald
Noir, now and then: film noir originals and remakes, (1944-1999) Westport, CT: Greenwood Press, 2001.
Full-text of this book available online [UC Berkeley users only]
MAIN: PN1995.9.F54 S39 2001

Selby, Spencer.
Dark City: The Film Noir / by Spencer Selby. Jefferson, N.C.: McFarland, c1984.
UCB Main PN1995.9.G3 S44 1984

Shades of Noir: A Reader
Edited by Joan Copjec. London; New York: Verso, 1993.
UCB Main PN1995.9.F54 S5 1993

Shadoian, Jack.
Dreams and Dead Ends: The American Gangster/Crime Film / Jack Shadoian. Cambridge, Mass.: MIT Press, c1977.
Main Stack PN1995.9.G3.S51
Moffitt PN1995.9.G3.S51

Silver, Alain
L.A. noir : the city as character Santa Monica, CA : Santa Monica Press, c2005.
Full-text available online [UCB users only]
BANC: \pf\ PN1995.9.F54 S57 2005
PFA : PN1995.9.F54 S57 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0510/2005009681.html

Silver, Alain
The Noir Style Woodstock, N.Y.: Overlook Press, 1999.
Main Stack PN1995.9.F54 S58 1999

Simpson, Philip
"Noir and the psycho-thriller." In: A companion to crime fiction / edited by Charles J. Rzepka and Lee Horsley. Chichester, U.K. ; Malden, MA : Wiley-Blackwell, 2010.
Main (Gardner) Stacks PN3448.D4 C557 2010

Smith, Imogen Sara.
In lonely places : film noir beyond the city / Imogen Sara Smith. Jefferson, N.C. : McFarland, c2011.
Main (Gardner) Stacks PN1995.9.F54 S65 2011
The author investigates the alienation expressed by film noir, pinpointing its motivation in the conflict between desires for escape, autonomy and freedom. This survey examines how film noir reflected radical changes in the physical and social landscapes of postwar America, defining the genre's contribution to the eternal debate between the values of individualism and community
Contents: Introduction -- Imaginary prisons: noir and the city -- In exile at home: noir between two worlds -- Maximum security: domestic noir -- The tyranny of neighbors: small-town noir -- Blind highways: noir on the road -- Mirage of safety: noir on the Mexican border -- Lone and level sands: desert noir -- Past sunset: noir westerns -- Private traps: noir in the mind.

Sobchack, Vivian
"Lounge Time: Postwar Crises and the Chronotope of Film Noir." In: Refiguring American Film Genres: History and Theory / Nick Browne, editor. pp: 129-70 Berkeley: University of California Press, c1998.
UCB Main PN1993.5.U6 R443 1998

Spicer, Andrew.
Film noir Harlow, England; New York: Longman/Pearson Education, 2002.
MAIN: PN1995.9.F54 S68 2002

Staiger, Janet
"Film Noir as Male Melodrama: The Politics of Film Genre Labeling." In: The shifting definitions of genre : essays on labeling films, television shows and media / edited by Lincoln Geraghty and Mark Jancovich. Jefferson, N.C. : McFarland, c2008.
Main (Gardner) Stacks PN1995 .S487 2008

Stanfield, Peter
"'Film noir like you've never seen': Jim Thompson adaptations and cycles of neo-noir." In: Genre and contemporary Hollywood / edited by Steve Neale. London: BFI Publishing, 2002.
Main Stack PN1993.5.U6.G46 2002

Stephens, Michael L.
Film Noir: A Comprehensive, Illustrated Reference to Movies, Terms, and Persons / by Michael L. Stephens. Jefferson, N.C.: McFarland, c1995.
UCB Main PN1995.9.F54 S74 1995

Stephens, Michael L.
Gangster Films: A Comprehensive, Illustrated Feference to People, Films, and Terms / by Michael L. Stephens. Jefferson, N.C.: McFarland, c1996.
Main Stack PN1995.9.G3.S84 1996

Stevens, Jason W.
"McCarthyism through sentimental melodrama and film noir." In: God-fearing and free : a spiritual history of America's Cold War / Jason W. Stevens. Cambridge, Mass. : Harvard University Press, 2010.
Main (Gardner) Stacks New books BR526 .S74 2010

Tasker, Yvonne.
"'New Hollywood, New Film Noir and the Femme Fatale." In: Working girls : gender and sexuality in popular cinema / Yvonne Tasker. London ; New York : Routledge, 1998.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.W6 T36 1998
Pacific Film Archive PN1995.9.W6 T36 1998

Tomasovic, Dick.
Le palimpseste noir: notes sur l'impetigo, la terreur et le cinema americain contemporain / Dick Tomasovic. Crisnee: Yellow Now, c2002. Cote cinema.
Main Stack PN1995.9.F54.T66 2002

Tasker, Yvonne
"'New Hollywood', new film noir, and the femme fatale." In: Working girls: gender and sexuality in popular cinema / Yvonne Tasker.London; New York: Routledge, 1998.
Full text available online (UCB users only)
Main Stack PN1995.9.W6.T36 1998

Telotte, J. P.
"Film noir at Columbia: fashion and innovation." In: Columbia Pictures: portrait of a studio / Bernard F. Dick, editor. Lexington, KY: University Press of Kentucky, c1992.
Main Stack PN1999.C57.C64 1991
Moffitt PN1999.C57.C64 1992

Telotte, J. P.
"Noir Narration." In: Post-war cinema and modernity : a film reader / edited by John Orr and Olga Taxidou. New York, NY : New York University Press, 2001.
Main (Gardner) Stacks PN1994 .P6567 2001
Pacific Film Archive PN1994 .P6567 2001

Telotte, J. P.
"The woman in the door: framing presence in film noir." In: In the eye of the beholder: critical perspectives in popular film and television / edited by Gary R. Edgerton, et al. Bowling Green, OH: Bowling Green State University Popular Press, c1997.
Main Stack PN1995.I565 1997
Moffitt PN1995.I565 1997

Telotte, J. P.
Voices in the Dark: The Narrative Patterns of Film Noir / J.P. Telotte. Urbana: University of Illinois Press, c1989.
UCB Main PN1995.9.F54 T441 1989
UCB Moffitt PN1995.9.F54 T44 1989
Contents via Google Books

Thompson, Peggy
Hard-boiled: Great Lines From Classic Noir Films San Francisco: Chronicle Books, c1995.
UCB Moffitt PN1995.9.F54 T56 1995

Tuska, John.
Dark Cinema: American Film Noir in Cultural Perspective / Jon Tuska. Westport, Conn.: Greenwood Press, 1984. Series title: Contributions to the study of popular culture no. 9.
UCB Main PN1995.9.D4 T79 1984
UCB Moffitt PN1995.9.D4 T79 1984

Wager, Jans B.
Dames in the driver's seat : rereading film noir Austin : University of Texas Press, 2005.
Full-text available online [UCB users only]
UCB Main: PN1995.9.F54 W34 2005
MOFF: PN1995.9.F54 W34 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005010564.html

Wager, Jans B.
Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir / Jans B. Wager. Athens: Ohio University Press, c1999.
Main Stack PN1995.9.F44.W35 1999

West, Ann Adele. [UCB Dissertation]
Comedie Noire thrillers of Alfred Hitchcock; genres, psychoanalysis, and woman's image / by Ann Adele West.1982.
UCB Main 308t 1982 888(In storage: NRLF #: C 2 935 881)

Women in Film Noir /
Edited by E. Ann Kaplan. Rev. ed. London: BFI Publishing, 1998.
Main Stack PN1995.9.W6.W66 1998
UCB Main PN1995.9.W6 W66 1980 (earlier edition)
UCB Moffitt PN1995.9.W6 W66 1980 (earlier edition)

Wyllie, Barbara.
"A common vision? : traces of noir in Nabokov's Russian fiction and American writing of the 1930s." In: Nabokov at the movies : film perspectives in fiction Jefferson, N.C. : McFarland & Company, c2003.
Main Stack PG3476.N3.Z95 2003
PFA PN1995.3.W94 2003
Contnets: Nabokov and film : positive versus negative -- The impact of German and Soviet film on Nabokov's early Russian fiction -- A medium invaded : cinema and cinematics in The Great Gatsby, King, queen, knave, and Laughter in the dark -- A common vision? : traces of noir in Nabokov's Russian fiction and American writing of the 1930s -- Images of terror and desire : Lolita and the American cinematic experience, 1939-1952 -- Dream distortions : film and visual deceit in The assistant producer, Bend sinister, and Ada -- Altered perspectives and visual disruption in Transparent things and American film of the early 1970s -- Shimmers on a screen : cinematic hyperreality in recent American fiction and film.

Zizek, Slavoj.
"'The Thing That Thinks': The Kantian Background of the Noir Subject."In: Shades of Noir: A Reader Edited by Joan Copjec. pp: 199-226. London; New York: Verso, 1993.
UCB Main PN1995.9.F54 S5 1993

Journal Articles

Adams, Jeffrey.
"Orson Welles's The Trial: Film Noir and the Kafkaesque." College Literature. 29(3):140-57. 2002Summer
UC users only

Allen, Richard.
"Brushing Classical Hollywood Narrative against the Grain of History." Camera Obscura, vol. 18. 1988 Sept. pp: 137-145.

Appel, Alfred, Jr
"The Director: Fritz Lang's American Nightmare." Film Comment 10:6 (1974:Nov./Dec.) 12

Arnett, Robert.
"Eighties noir: the dissenting voice in Reagan's America.(analysis of outstanding film noir works in the 1980s)." Journal of Popular Film and Television 34.3 (Fall 2006): 123(7).
UC users only

Arthur, Paul
"Film noir as primal scene." Film Comment. Sep/Oct 1996. Vol. 32, Iss. 5; p. 77 (3 pages)
Arthur examines the 1949 film noir classic "The Window," which is unusual for the presence of a child. The film was directed by Ted Tetzlaff, who was Hitchcock's cinematographer on "Notorious."

Arthur, Paul
"Los Angeles as scene of the crime." Film Comment Vol. 32, Iss. 4 July/Aug 1996. p. 20-6
"Los Angeles constitutes the very locus, spiritual font, and often the actual site of some of America's most cherished crime-movie fantasies. This is despite the fact that it is a city devoid of the topographical symbols and embedding of the past usually associated with detective narratives, especially film noir detective narratives. The writer examines what detective movies, from the postwar period to present day, have done with the ecology of L.A. and what L.A. has done with and to detective movies." [Art Abstracts]

Avila, E.
"Popular culture in the age of white flight: Film noir, Disneyland, and the cold war (sub)urban imaginary." Journal of Urban History, vol. 31, no. 1, pp. 3-22, 2004
UC users only
"This article takes popular cultural expressions as a window onto the transformation of the American city after World War II. First, it considers the film genre known as film noir as evidence of a larger perception of social disorder that ensued within the context of the centralized, modern city, which peaked at the turn of the century. Second, it turns to Disneyland as the archetypal example of a postwar suburban order, one that promised to deliver a respite from the racial and sexual upheaval that characterized the culture of industrial urbanism. Together, film noir and Disneyland illuminate the meanings assigned to the structural transformation of the mid-century American city and reveal the cultural underpinnings of a grass-roots conservatism that prized white suburban home ownership. Ultimately, this article emphasizes the interplay of structure and culture, demonstrating the linkage between how cities are imagined and how they are made." [Communications Abstracts]

Barnfield, Graham
"Hollywood's Noir Detours: Unease in the Mental Megalopolis." Architectural Design (London, England) v. 76 no. 1 ([January/February] 2006) p. 104-7
"Part of a special section devoted to man-made modular megastructures. The film noir produced by Hollywood between 1941 and 1958 presented the image of a mental megalopolis. Hollywood's entertainment of urban audiences was often paradoxical, creating a negative counterpoint to modern life. This was especially so in film noir, a morbid melodrama reminding audiences of the dark side of prosperity and which contrasted with the big-budget Hollywood celebration of the American way. The writer goes on to discuss examples from film noir, the "neo-noir" revival that began in the mid-1970s, and the present day." [Art Index]

Baxter, John
"Something More Than Night." Film Journal 2:4 (1975), pp: 4-9

Belton, John.
"Film Noir's Knights of the Road." Bright Lights, November 2006 | Issue 54

Biesen, Sheri Chinen.
"Bogart, Bacall, Howard Hawks and Wartime Film Noir at Warner Bros.: To Have and HaveNot and The Big Sleep." Popular Culture Review. 13(1):35-51. 2002 Jan

Biesen, Sheri Chinen.
"Joan Harrison, Virginia Van Upp and women behind-the-scenes in wartime film noir." Quarterly Review of Film and Video. Apr-Jun 2003. Vol. 20, Iss. 2; p. 125

Blumenthal, Ralph.
"Noir, the city and a steamy night." (author Nicholas Christopher of "Somewhere in the Night: Film Noir and the American City) (Living Arts Pages) New York Times v146 (Wed, July 9, 1997):B1(N), C11(L), col 1, 39 col in.

Boozer, Jack
"The Lethal Femme Fatale in the Noir Tradition." Journal of film and video. 51, no. 3-4, (Fall 1999): 20 UCB users only

Borde, Raymond and Chaumeton, Etienne
Le film noir Français. Temps modernes 11 (1955/1956) 172

Bowman, James.
"Angel Eyes." (analysis of contemporary film noir) American Spectator v31, n6 (June, 1998):66 (2 pages).
" The current crop of motion pictures in the film noir genre suchas McNaughton's "Wild Things" and Siberling's "City of Angels" fail to grab the viewer's attention due to weak plots. The films fail to supply enough dramatic or moral contexts with which to ground the action." [Expanded Academic Index]

Bowman, James.
"Angel Eyes." (analysis of contemporary film noir) American Spectator v31, n6 (June, 1998):66 (2 pages).

Bregent-Heald, Dominique.
"Dark Limbo: Film noir and the North American borders." Journal of American Culture 29.2 (June 2006): 125(14). UC users only
"Film noir is a heterogeneous group of 1940s and 1950s Hollywood films identified by a set of basic cinematic conventions that defy Classical Hollywood's narrative, discursive, and stylistic paradigms. Director John Sturges' film, 'Jeopardy (1953)' displays the barren Mexican borderlands and uses the border as a narrative and visual device to signal physical and symbolic transition." [Expanded Academic Index]

Broe, Dennis
"Class, crime, and film noir: labor, the fugitive outsider, and the anti-authoritarian tradition." Social Justice Spring 2003 Vol. 30, Iss. 1 p22(20)

Bronfen, Elisabeth
"Femme Fatale: Negotiations of Tragic Desire." New Literary History: A Journal of Theory and Interpretation. 35 (1): 103-16. 2004 Winter.
UC users only
"The article uses Stanley Cavell's claim that tragedy be thought of in terms of avoiding recognition of the other as a way to discuss a genre - film noir - which is usually ignored by tragic theorists. A close reading of Billy Wilders classic film Double Indemnity serves to present a way to think tragedy not just as a narrowly defined dramatic genre, but as a mode or structure of feeling, with the femme fatale as a particularly resilient contemporary example of tragic sensibility. For in the world of film noir she elicits fantasies of omnipotence, supporthing the hero's desire to stave off knowledge of his own fallibility at all costs. At the same time she performs a tragic acceptance precisely by assuming responsibility for her fate, because she comes to discover freedom in her embrace of the inevitability of causation. This article thus claims the femme fatale is not merely a stereotype, symptom or catchphrase for dangerous femininity but rather the subject of her narrative, an authentic modern heroine." [Project Muse]

Castille, Philip Dubuisson
"Red Scare and Film Noir: The Hollywood Adaptation of Robert Penn Warrens's All the King's Men." The Southern Quarterly: A Journal of the Arts in the South vol. 33 no. 2-3, 1995 Winter-Spring

Chang, Chris .
"The Dark Page: Books That Inspired American Film Noir (1940-1949)." Film Comment. Jan/Feb 2008. Vol. 44, Iss. 1; pg. 79, 1 pgs
UC users only

Conley. Tom
"Locations of Film Noir." Cartographic Journal, Feb2009, Vol. 46 Issue 1, p16-23, 8p
UC users only

Conley. Tom
"Stages of "Film Noir" Theatre Journal Vol. 39, No. 3, Film/Theatre (Oct., 1987), pp. 347-363
UC users only

Covey, W.
"The Genre Don't Know Where It Came From: African American Neo-Noir Since the 1960s" [With Films Cited]. Journal of Film and Video v. 55 no. 2/3 (Summer/Fall 2003) p. 59-72
UC users only
"African-American neo-noir discourse is a vital part of neo-noir studies, not just a marginalized addition. Born in the late 1960s and revised starting in the 1990s, black neo-noir, a series of mystery thrillers focusing on African-American detectives and police officers, has helped to revitalize the popular filmmaking discourse of film noir. Critical work on black neo-noir is both recent and sparse, resulting in, at best, a gap in noir criticism, and, at worst, indicating confusion about the significance of these films. As conceptual metaphors, African-American neo-noirs help represent and illustrate black experience, and constitute a semiotic terrain that merits the critical attention of the academy. By establishing where today's loose-knit genre of the African-American neo-noir comes from, critics can recognize that African-American films raise a host of complex political, social, and cultural questions in relation to film-noir discourse." [Art Index]

Covey, W.
"Peres Fatales: Character and Style in Postmodern Neo-Noir." Quarterly Review of Film & Video, Jan2011, Vol. 28 Issue 1, p41-52, 12p
UC users only
An essay is presented which discusses film noirs released between 1965 and 2007 and the role of a dangerous father to represent history of neo-noir. It offers a history on the development of film noir and its influences. It mentions that there were film noirs that examined crimes of fatherhood and father figures like the 1944 film "Double Indemnity." It argues that neo-noir films discern how dark obsessions of fathers destroy both the lives of their offspring and the communities they live in.\

Dargis, Manohla.
"N for Noir." Sight and Sound, (Sight&S), vol. 7 no. 7. 1997 July. pp: 28-31.
"A note on film noir. Among the topics commented on are the classification of film noir, the low-key lighting in the films, the portrayal of women, and neo-noir such as John Boorman's Point Blank. A chronology of film noir from 1919 to 1997 is provided."

"Dashiell Hammett and Film Noir...Out of the Vase?" Monthly Film Bulletin, 49:576/587 (1982) p.November
UC users only

Davidson, Michael
"Phantom Limbs: Film Noir and the Disabled Body." GLQ: A Journal of Lesbian and Gay Studies - Volume 9, Number 1-2, 2003, pp. 57-77
UC users only

Davies, Ann.
"Criminality and the left in Spanish retro noir films." Journal of Iberian & Latin American Studies, Apr2009, Vol. 15 Issue 1, p15-28, 14p
UC users only

Davis, Amanda Leigh
"Gothically Postmodern: Film Noir-Gothic Hybrids and the 1980s." Velox: Critical Approaches to Contemporary Film, Vol 2, No 1 (2008)

Diawara, Manthia
"Noir by Noirs: Towards a New Realism in Black Cinema." African American Review, Vol. 27, 1993
UC users only

Dimendberg E
"Down These Seen Streets a Man Must Go: Siegfried Kracauer, Hollywood's Terror Films and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies, vol. 89, pp. 113-43, Spring 2003.
UC users only

Dimendberg E
"From Berlin to Bunker-Hill: Urban Space, Late Modernity, and Film-Noir in Fritz Lang's and Joseph Losey's 'M'" Wide Angle 19: (4) 62-93 OCT 1997

Dick, B. F.
"Columbia's Dark Ladies and the Femmes-Fatales of Film Noir." Literature-Film Quarterly, 1995, V23 N3:155-162.
UC users only

Dickstein, Morris
"Beyond good and evil: the morality of thrillers." American Film v 6 July/Aug 1981. p. 49-52+

Dimendberg, Edward.
"Down These Seen Streets A Man Must Go: Siegfried Kracauer, Hollywood's Terror Films and the Spatiality of Film Noir." New German Critique: An Interdisciplinary Journal of German Studies. 89: 113-43. 2003 Spring-Summer.

Dimendberg, Edward.
"From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's and Joseph Losey's M." Wide Angle 19.4 (1997) 62-93
UC users only

Dorfman, Richard
"Conspiracy city." Journal of Popular Film and Television v 7 no4 1980. p. 434-56
UC users only

Durgnat, Raymond.
"The Family Tree of Film Noir." Film Comment, 10:6, (1974) pp 6-7

Durgnat, Raymond.
"Paint It Black: The Family Tree of Film Noir." Cinema, 6/7 (1970) pp:49-56

Dussere, E.
"Out of the Past, Into the Supermarket: Consuming Film Noir." Film Quarterly v. 60 no. 1 (Fall 2006) p. 16-27
UC users only
"Film noir's response to capitalism in the United States is set in the fluorescent aisles of consumer culture. The era of classic film noir came to an end in the late 1950s, but in the New Hollywood of the early 1970s, filmmakers started to reassess American film genres and icons through the lens of a national culture transformed by the new social movements linked with the 1960s. As well as the more obvious political movements, a new wave of consumer advocacy emerged in the 1960s that challenged procedures in corporate marketing and production as manipulative and corrupt. The consumer culture associated with the supermarket, and particularly its relationship to the woman as shopper, was frequently described as a type of conspiracy or brainwashing. The writer discusses the way in which supermarkets and consumer culture are portrayed in the films Double Indemnity, The Long Goodbye, and Fight Club." [Art Index]

Everson, William K.
"British Film Noir." Films in Review, 38:5 (May 1987), pp: 285+; 38 (June/July 1985), pp: 340+

Everson, William K.
"British Film Noir II." Films in Review 38:6/7 (1987:June/July) 340

Ewing, Dale E., Jr.
"Film Noir; Style and Content." Journal of Popular Film and Television v16, n2 (Summer, 1988):60 (10 pages).
UC users only

Farber, Stephen
"The Society: Violence and the Bitch Goddess." Film Comment 10:6 (1974:Nov./Dec.) 8

Farish, Matthew
"Cities in shade: urban geography and the uses of noir." In: Environment and Planning D: Society and Space 2005 Feb., v.23, n.1, p.95-118, ISSN 0263-7758.
UC users only
"This paper historicizes American cities after the Second World War through the rich motif of noir literature and film. But, in doing so, the paper is also a critical consideration of noir's work in urban studies. Noir has been drawn, often usefully but also unfortunately, away from its referents, from the terrain that it most directly summons but also from the spaces in which its contradictions are most apparent. Moving from a discussion of the distractions of Chinatown to contextual themes such as mobility and ruin, the paper links noir criticism and noir texts with broader debates in postwar urbanism and modernism. As just part of these discourses, noir not only is irreducible to certain essences, but can potentially perform the opposite role, challenging conventions of urban understanding and practice. The result would be a more detailed and subtle account of modernism's American geographies."

"Film noir goes mainstream as Hollywood pursues controversial themes." US News and World Report 102:12 (1987:Mar. 30) 75

Flory, Dan
"Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema." Journal of Social Philosophy 31, no. 1 (2000): 82 (35 pages)

Flory, Dan
"The Edges of Noir,: American Quarterly - Volume 56, Number 2, June 2004, pp. 471-480
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Fluck, Winfried.
"Crime, Guilt, And Subjectivity In Film Noir." Amerikastudien [Germany] 2001 46(3): 379-408.
UC users only
"Examines the development of film noir during the postwar period and how this new film genre was different from earlier, specifically gangster films in its treatment of crime, criminals, and guilt. The article discusses various theories about film noir and its treatment of moral responsibility and self-dissolution among ordinary citizens who are drawn into crime, a common and often essential characteristic of these films. Film noir, probably influenced by Sigmund Freud and the existentialist literature of Albert Camus and F?dor Dostoevski, simultaneously touched on the puzzle of subjectivity inherent in crime and murder and transformed self-dissolution into a fashionable, pleasurable, and "cool" experience for the viewer." [America: History and Life]

Fotsch, Paul Mason.
"Film Noir and Automotive Isolation in Los Angeles." Cultural Studies/Critical Methodologies, Feb2005, Vol. 5 Issue 1, p103-125, 23p;
UC users only

Gach, Gary
"John Alton: master of the film noir mood." American Cinematographer v 77 Sept 1996. p. 87-92
"A profile of cinematographer John Alton. Born in Austria in 1901, Alton worked in a variety of studios in America and abroad, before moving to Hollywood in 1939. His big break came in 1947, when, while working for the B-picture studio Republic, he first encountered director Anthony Mann. Their film T-Men (1948) was to be the first of a dozen pictures that together formed the epitome of the film noir style. In 1949, Alton published his groundbreaking book on the camera's role in filmmaking, Painting with Light, now a highly respected work in cinematography circles. He then went back to MGM, where he made some 34 films over the next ten years, including Father of the Bride and--his last film of note--Elmer Gantry (1960), before quitting the business in 1960. Despite the critical recognition that began to come his way in the following years, Alton remained a mysterious figure until the 1990s and the appearance of the cinematographic documentary Visions of Light, which included many striking examples of his work. He died on June 2, 1996, in Santa Monica, California, aged 94." [Art Abstracts]

Garrett, Greg.
"Let There Be Light and Huston's Film Noir." Proteus: A Journal of Ideas, vol. 7 no. 2. 1990 Fall. pp: 30-33.

Gates, Philippa.
"The Maritorious Melodrama: Film Noir with a Female Detective." Journal of Film & Video, Fall2009, Vol. 61 Issue 3, p24-39, 16p
UC users only

Georgakas, Dan.
"The beloved Bs." (mediocre or B motion pictures) Cineaste v23, n4 (Fall, 1998):54 (2 pages).
The French creation of the notion 'film noir' and the evolvement of film criticism into an academic discipline caused film critics to assess such films more closely. As a result, a handful of B films were dramatically re-evaluated as masterworks. Among the most celebrated B films are three directed by Anthony Mann and filmed by cinematographer John Alton. These three are 'T-Men,' 'Raw Deal' and 'He Walked by Night.'.

Grossman, J.
"Film Noir's "Femme Fatales" Hard-Boiled Women: Moving Beyond Gender Fantasies." Quarterly Review of Film and Video v. 24 no. 1 (2007) p. 19-30
"A discussion on film noir's femme fatale argues that these so-called bad women do not actually exist in films except as a feature of the gender fantasies that surround such characters. It contends that the femme fatales are shown to be trapped in societies that are presented as psychotically gendered, where an insistence on independence is often misconstrued as the mark of the lying, murdering femme fatale." [Expanded Academic Index]

Gunning, Tom
"Invisible Cities, Visible Cinema: Illuminating Shadows in Late Film Noir." Comparative Critical Studies. Volume 6, Page 319-332
UC users only

Hales, Barbara.
"Projecting Trauma: The Femme Fatale in Weimar and Hollywood Film Noir." Women in German Yearbook: Feminist Studies in German Literature & Culture - Volume 23, 2007, pp. 224-243
UC users only
"This article challenges recent scholarship on German exile directors by suggesting that the context of Weimar culture is relevant to understanding the work of these directors in Hollywood. I propose that film noir of the 1940s and 1950s conveys the crisis of male identity resulting from World War I by way of the femme fatale character. The paper begins with an examination of the traumatic conditions of post-war Weimar that constructed the woman as criminal and double and then proceeds to an analysis of filmic depictions of the femme fatale in Hollywood and Weimar." [Project Muse]

Hankoff, Peter
"Film Noir, Life Noir." Film Comment 12:4 (1976:July/Aug.) 35

Hanson, Philip
"The arc of national confidence and the birth of film noir, 1929-41." Journal of American Studies, vol. 42, no. 3, pp. 387-414, Dec 2008
UC users only

Hantke, Steffen
"Boundary Crossing and the Construction." Kinema Fall 2004.

Harris, Oliver
"Film Noir Fascination: Outside History, but Historically So." Cinema Journal 43:1 (2003), pp.3-24
"Film noir is a recognized object of historical fascination, but the structures of fascination internal to the films have yet to be analyzed and theorized historically. The work of Maurice Blanchot and Walter Benjamin helps locate the moral and political force of noir as it relates to cinema spectatorship and historical experience as defined by the fascinating image." [Art Index]

Henry, Clayton R., Jr.
"Crime Films and Social Criticism." Films in Review, 2:5 (1951) pp: 31-34

Hickman, Roger.
"Wavering Sonorities and the Nascent Film Noir Musical Style." Journal of Film Music, Winter2009, Vol. 2 Issue 2-4, p165-174, 10p

Hillis, Ken.
"Film noir and the American Dream: the dark side of enlightenment.(Critical Essay)." Velvet Light Trap 55 (Spring 2005): 3(16).
UC users only

Hohenberger, Eva
"buchbesprechung: "women in film noir" Frauen und Film 21 (1979:Sept.) 12

Hordnes, Lise
"Does Film Noir mirror the culture of contemporary America?" [web site]

Horsley, Lee; Horsley, Katharine.
"Meres Fatales: Maternal Guilt in the Noir Crime Novel." MFS Modern Fiction Studies - Volume 45, Number 2, Summer 1999, pp. 369-402
UC users only

Horton, Robert
"Music man." (Miklos Rozsa) Film Comment v 31 Nov/Dec 1995. p. 2-4
UC users only
"A review of the life and work of film-score composer Miklos Rozsa (1907-1995). Although a composer of serious classical music, Hungarian-born Rozsa turned to film work in order to support himself. He went to work for Alex Korda in London, moving to Los Angeles to complete The Thief of Bagdad when war broke out. There he succeeded in finding the tone of film noir, bringing his European sound to the mean streets. His last film, made in 1981, was Dead Men Don't Wear Plaid, which was an explicit throwback to his past film noir triumphs. His other work includes Ben-Hur, King of Kings, Jungle Book, The Private Life of Sherlock Holmes, The Asphalt Jungle, and Quo Vadis." [Art Abstracts]

House, Rebecca R.
"Night of the Soul: American Film Noir." Studies in Popular Culture, vol. 9 no. 1. 1986. pp: 61-83.

Jameson, Richard T.
"Today: Son of Noir." Film Comment 10:6 (1974:Nov./Dec.) 30

Jancovich, Mark
"Female monsters: Horror, the 'Femme Fatale' and World War II." European Journal of American Culture; 2008, Vol. 27 Issue 2, p133-149, 17p
UC users only

Jancovich, Mark
"Phantom ladies: the war worker, the slacker and the 'femme fatale'." New Review of Film & Television Studies, Jun2010, Vol. 8 Issue 2, p164-178, 15p
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Jancovich, Mark
"'Thrills and chills': horror, the woman's film, and the origins of film noir." New Review of Film & Television Studies, Jun2009, Vol. 7 Issue 2, p157-171, 15p
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Jenkins, Steve
"James M. Cain and Film Noir." Screen 1982 23: 80-82
UC users only

Jensen, Paul.
"The Return of Dr. Caligari: Paranoia in Hollywood." Film Comment 7:4 (1971) pp:36-45

Jensen, Paul.
"The Writer: Raymond Chandler and the World You Live In." Film Comment 10:6 (1974:Nov./Dec.) 18

Johnson, William
"Enigma variations." (on subtlety and complexity in film narratives) Film Comment v 33 Nov/Dec 1997. p. 70-3
UC users only
"Some movies raise mental activity to a higher level of pleasure, even to the extent of an epiphany. These films, which can be termed film blanc, as they are almost a mirror image of film noir, take a lucid but tantalizing approach that reveals only gradually, and never fully, what is happening. By balancing narrative transparency and opacity, film blanc offers the audience the constant pleasure of finding new clues and reshuffling them into new patterns. Major Hollywood releases rarely approach that type of balance, as they need to have broad dramatic appeal as opposed to subtlety if they are to make money. The one Hollywood classic that probably comes closest to blanc is Alfred Hitchcock's Vertigo, which remains ambiguous to this day." [Art Abstracts]

Kearns, Cimberli.
"The Homme Fatal: Living and Dying for Style." Cinefocus vol. 3. 1995. pp: 26-33.

Kemp, Philip
"From the nightmare factory: HUAC and the politics of noir." Sight and Sound v 55 Autumn 1986. p. 266-70

Klein, Norman M.
"Staging Murders: The Social Imaginary, Film, and the City." Wide Angle - Volume 20, Issue 3 1998
UC Users Only
"Part of a special issue exploring film and video in relation to architecture and urban space. The writer discusses the choice of locations for murder in films set in Los Angeles. There are urban "requirements" for a location where a murder should take place, with a good crime scene identifying poverty as local color for murder. This visual imagery of the decaying inner city has reinforced a Victorian panic about ethnicity and class as well as strengthening illusions about where crime-ridden cities end and safe suburbs start. The noir location thus reflects the perversities of consumer panic as a way to hide urban realities, a paradox that gives noir its presence and power. It seems that key locations for L.A. movie murders require two elements: A nearby consumer monument and a patina that reinforces the false memories of Los Angeles." [Art Index]

Kotsopoulos, A. and Mills, J.
"Gender, Genre, and Post-Feminism." Jump Cut, June 1994, 39: 15-24

Krohn, Bill
"Le film noir: aventures et mesaventures d'un genre." Cahiers du Cinema no. 524 (May 1998) p. 8
"The writer compares two recent American films that explore the film noir genre: L.A. Confidential by Curtis Hanson and Dark City by Alex Proyas. He argues that, as an adaptation of James Ellroy's eponymous book, L.A. Confidential is an intelligent film, but he questions its status as film noir, arguing that the characters' psychology is limited to the point of being caricatural and that, as the only woman, Kim Basinger's character lacks credibility. Meanwhile, he notes, Dark City transcends the notion of a pastiche of the noir genre and mixes noir with elements of a visionary science-fiction film, achieving a splendid originality through a mix of styles, eras, and references." [Art Index]

Frank Krutnik
"Desire, Transgression and James M Cain." Screen 1982 23: 31-44
UC users only

Lang, Robert
"Luaci Harper's Crime: Family Melodrama and "Film Noir" in "The Reckless Moment" Literature/Film Quarterly 17:4 (1989) 261

Lenz, Kimberly
"Put the Blame on Gilda: Dyke-Noir Vesus Film-Noir" Theatre Studies, 1995, N40:17-26.

Leibman, Nina C.
"The Family Spree of Film Noir." Journal of Popular Film and Television v16, n4 (Wntr, 1989):168 (17 pages).
UC users only

Lent, Tina Olsin.
"The Dark Side Of the Dream: The Image of Los Angeles in Film Noir." Southern California Quarterly 1987 69(4): 329-348.
"Discusses the film noir genre popular in the 1940's, which portrayed Los Angeles as an impersonal, pessimistic, and dehumanized environment. The writings of James M. Cain, Raymond Chandler, Horace McCoy, and others were adapted and made into such classic films as Double Indemnity, Mildred Pierce, The Postman Always Rings Twice, and The Blue Dahlia. The Spanish architectural styles of residences, the seediness of downtown Los Angeles, exotic landscaping, the river channel, the Hollywood Bowl, and industrial locations were featured in these films and usually given a dark interpretation, as Los Angeles came to represent disillusionment with the American Dream." [America: History and Life]

Lott, Eric.
"The Whiteness of Film Noir." American Literary History v9, n3 (Fall, 1997):542 (25 pages).
UC users only
"In the 1940's and 1950's American ethnic and nonwhite characters in film noir were racial metaphors for white corruption and symbolic scapegoats for the very criminality they evoked. In response to emerging black, Asian, and Hispanic activism, films such as Double Indemnity and A Double Life compared whites who capitulated to villainous desires with racial and ethnic stereotypes; yet by retaining the idea of respectable morality - the white sinecure - the films' racial codes, embedded in moral discourse and visual cues, vilified criminal acts and sanctioned the very "whiteness" the characters could not maintain. Once domesticated, the racial "Other" inside the white household portended familial dysfunction and reinforced the desirability of the white home that the Other's presence denied." [From ABC-CLIO America: History and Life]

Also in: National imaginaries, American identities: the cultural work of American iconography / edited by Larry J. Reynolds and Gordon Hutner. Princeton, N.J.: Princeton University Press, c2000.
Main Stack E169.1.N3744 2000

Loza, Susana.
"Orientalism and Film Noir: (Un)Mapping Textual Territories and (En)Countering the Narratives."The Southern Quarterly. 39(4):161-74. 2001
"Orientalism in motion pictures portrayed conflict between effeminate Eastern male slaves and their former Western white masters, while film noir explored the dark nature of fantasy while incorporating a similar set of power models. The multiple subject is common to both genres and compels examination of the borders between Self and Other."

Lott, Eric.
"The Whiteness of Film Noir." American Literary History v9, n3 (Fall, 1997):542 (25 pages).
UC users only
"In the 1940's and 1950's American ethnic and nonwhite characters in film noir were racial metaphors for white corruption and symbolic scapegoats for the very criminality they evoked. In response to emerging black, Asian, and Hispanic activism, films such as Double Indemnity and A Double Life compared whites who capitulated to villainous desires with racial and ethnic stereotypes; yet by retaining the idea of respectable morality - the white sinecure - the films' racial codes, embedded in moral discourse and visual cues, vilified criminal acts and sanctioned the very "whiteness" the characters could not maintain. Once domesticated, the racial "Other" inside the white household portended familial dysfunction and reinforced the desirability of the white home that the Other's presence denied." [From ABC-CLIO America: History and Life]
Also in: National imaginaries, American identities: the cultural work of American iconography / edited by Larry J. Reynolds and Gordon Hutner. Princeton, N.J.: Princeton University Press, c2000.
Main Stack E169.1.N3744 2000

Maden, David.
"James M. Cain and the Movies of the Thirties and Forties." Film Heritage, 2:4 (1972 pp 9-25

Maio, Kathi
"Dangerous to Know-Femme Fatales on Film." Sojourner, 23 (3): 14-15, November 1997.
Lists several films which include "femme fatales" in a range of styles, over a wide span of years.

Maland, C. J.
"Film Gris: Crime, Critique and Cold War Culture in 1951." Film Criticism v. 26 no. 3 (Spring 2002) p. 1-30
UC users only
"The writer examines film gris (gray films), a category of film classified in 1985 by scholar Thom Anderson. Anderson suggested that the most significant achievements of the filmmakers blacklisted in the late 1940s and early 1950s were released between the Hollywood Ten hearings of October 1947 and the resumption of investigations by the House on Un-American Activities in Hollywood in 1951. He identified directors who created a small group of films characterized by a combination of crime and social critique, which he labeled film gris. The writer considers the notion of film gris in relation to two films on the list, Joseph Losey's The Prowler and John Berry's He Ran All the Way (both 1951), focusing on contextual concerns, especially on the backgrounds and political engagements of key creative personnel and of the shifts in the film industry that made it possible, albeit hard, for them to make the films they wanted. He examines the films and the vision of American society they portray, what happened to them and their filmmakers after the films were released, and what the films suggest about the relationship between film gris and film noir." [Art Index]

Maltby, Richard.
"Film Noir: The Politics of the Maladjusted Text." Journal of American Studies, vol. 18 no. 1. 1984 Apr. pp: 49-71.
UC users only
"Although definition of film noir is imprecise, Hollywood released one large group of films during 1946-49 that are readily classified film noir because all shared a liberal disillusionment with the mass media's portrayal of the nation's post-World War II adjustments. These films also differ from others classed film noir; the others camouflaged criticism of Hollywood's abandoning liberal prescriptions for a better world with extended psychoanalysis of alienated people. These other films also contained so much anti-Communist paranoia as to encourage political repression." [from ABC-CLIO America: History & Life]

Mangravite, A.
"Republic Noir." Film Comment, Jan/Feb 1994, 30:78-79+

Manon, H. S.
"X-Ray Visions: Radiography, "Chiaroscuro," and the Fantasy of Unsuspicion in "Film Noir"." Film Criticism v. 32 no. 2 (Winter 2007/2008) p. 2-27
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"In working to theorize the film noir style, it is important to account for its distinctive chiaroscuro lighting not solely in terms of affect or mood, but as representing a specific kind of optical structure as well as a particular brand of criminal deception. The lighting schemes of the genre frequently resemble medical X-rays, announcing that an X-ray vision is precisely what average people lack, and illustrating noir's overarching investment in a fantasy of public obliviousness. This connection is substantiated by the way in which the mise-en-scene of noir is not broadly illuminated so much as it is shot through with light. The mass popularization of X-ray technology in America in the period between the late 1930s and mid-1950s coincided closely with the rise and decline of classic film noir. Invoking and denying the inside-out viewpoint afforded by the X-ray, noir distinguishes itself as that brand of American crime film that thrills viewers with the promise of a possible secret, not a possible answer." [Art Index]

Marling, William.
"On the Relation Between American Roman Noir and Film Noir." Literature-Film Quarterly v21, n3 (July, 1993):178 (16 pages).
UC users only

Matheson, Sue.
"The West--hardboiled: adaptations of film noir elements, existentialism, and ethics in John Wayne's Westerns.(Critical Essay)." Journal of Popular Culture 38.5 (August 2005): 888(23).
UC users only

McLean, Adrienne L.
"'It's Only That I Do What I Love and Love What I Do': Film Noir and the Musical Woman." Cinema Journalvol. 33 no. 1. 1993 Fall. pp: 3-16.
UC users only

Miller, L.
"Evidence for a British Film Noir Cycle," Film Criticism, 1992 Fall-Winter, V16 N1-2:42-51.

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Miller, Don.
"Private Eyes: From Sam Spade to J.J. Gittes. Focus on Film, 22 (1975) pp: 15-35

Mills, Michael.
"High Heels on Wet Pavement: Film Noir and the Femme Fatale"
(from: Modern Times web site)

Mills, Michael.
"Sytle: Narrative Innovations in Film Noir" (from: Modern Times web site)

Morgan, Jack.
"Reconfiguring Gothic Mythology: The Film Noir-Horror Hybrid Films of the 1980s." Post Script: Essays in Film & the Humanities. 21(3):72-86. 2002 Summer
UC users only

Muller, Eddie
"Queens of Mean."(film noir actresses) Los Angeles Magazine, March 01 1999

Murphet, J.
"Film Noir and the Racial Unconscious." Screen, 1998 Spring, V39 N1:22-35.
"The writer explores the complex field of determination in which film noir appeared. A specific U.S. form of nationalist, white/black racism is at work, though not explicitly, in film noir. Film noir's new white man--principally in the person of Humphrey Bogart--was an arresting paradigm of American identity that excluded African-Americans. This new character can be placed in an articulated sequence of socially produced spaces: the chronotopic, representational space of films noirs themselves; the space of postwar U.S. urbanism; the space of postcolonial France and existentialism; and the contemporary space of global capitalism in which Postmodernism has revived and reimagined the noir chronotope for its own purposes. The dialectical unity of these spaces constitutes a contradictory force field in which film noir reveals its racial unconscious." [Art Abstracts]

Naremore, James.
"American Film Noir: The History of an Idea." Film Quarterly v49, n2 (Winter, 1995):12 (17 pages).
UC users only
"To understand film noir, or to make sense of genres or art-historical categories in general, it must be recognized that film noir belongs to the history of ideas as much as to the history of cinema. It has less to do with a set of artifacts than with a discourse--a loose, evolving system of arguments and interpretations that help to form commercial strategies and aesthetic ideologies. The term film noir currently plays a central part in the vocabulary of playful, commercialized postmodernism. It can describe a dead period, a sentimental yearning for something that never existed, or maybe even a vital tradition, depending on how it is used. The writer comments on early writings about film noir and attempts to explain the paradox that film noir is both an important cinematic legacy and a concept projected onto the past." [Art Abstracts]

Ness, R. R.
"A Lotta Night Music: The Sound of Film Noir." Cinema Journal v. 47 no. 2 (Winter 2008) p. 52-73
UC users only
"An examination of the characteristic musical scores of 1940s noir films, and of the nostalgic second noir cycle that emerged in the 1970s. The musical scores of 1940s noir films such as Shadow of a Doubt (Alfred Hitchcock, 1943), Laura (Otto Preminger, 1944), and Murder, My Sweet (Edward Dmytryk, 1944) defied the emphasis on tonality common in classical Hollywood scoring practices, reflecting the way in which these noir films represented a challenge to the security of home and family. Scores for the neo-noir cycle of the 1970s and 1980s are characterized by tension between atonal technques and the return of more melodic elements. Neo-noir films such as Body Heat (Lawrence Kasdan, 1981) employ jazz to evoke the exotic undercurrents of the genre and to evoke a sense of nostalgia for the films of the past. The musically "constructed nostalgia" of neo-noir films is unable to find a tonal center in the genre since such a thing did not exist in the first place." [Art Index]

O'Brien, Geoffrey.
"The Return of Film Noir!" (film noir 1943-1955, discusses sixteen Hollywood films of the period) New York Review of Books v38, n14 (August 15, 1991):45 (4 pages).

Orr, Christopher.
"Genre Theory in the Context of the Noir and Post-noir Film." Film Criticism v22, n1 (Fall, 1997):21 (17 pages).
UC users only
Erotic crime drama, first filmed in the 1940s, is a sub-genre of film noir and influenced films for the next four decades. Sexual desire is central to this sub-genre, with the blockage of that desire resolved within or outside of the law. 'Out of the Past' described a social crisis and constituted a critique of that crisis, while 'Angel Face' and 'Out of the Past - Against All Odds' dealt with the same issues but drifted into melodrama.

Part of a special issue on film genres. The writer discusses genre theory in the context of film noir and post-noir film. He illustrates the difficulties encountered in attempting to apply a generic category or categories to films now seen as film noir by focusing on noir films with particularly similar narrative structures--Out of the Past by Jacques Tourneur (1947) and Angel Face by Otto Preminger (1952)--as well as on Taylor Hackford's remake of Out of the Past--Against All Odds (1984), which was influenced by the noir tradition. He argues that, although all three films fall into the femme fatale narrative type, where the male protagonist is the victim of his desires, Angel Face and Against All Odds drift beyond this category into the generic field of melodrama. Focusing on these films' texts, he goes on to discuss the differences between them as subgenres of the crime film.

Osteen, Mark.
"The Big Secret: Film Noir and Nuclear Fear." Journal of Popular Film and Television v22, n2 (Summer, 1994):79 (12 pages).
UC users only
"The writer examines the connections between fear of atomic power and film noir. He argues that film noirs, with their pervasive paranoia and fatalism, and their fascination with corruption and cynicism about power, clearly, albeit often indirectly, reflect Americans' nuclear fears. He posits that, especially in those films made after 1949, the cultural fear of annihilation is translated into a fascination with violent death. The psychic split that enabled citizens to relegate nuclear fear to the realm of the unspeakable, he asserts, is powerfully manifest in these films' recurrent motif of secrecy and their frequent symbolic use of deafness, muteness, and silence. Among the films he examines are Alfred Hitchcock's Notorious, Orson Welles's The Lady From Shanghai, Raoul Walsh's White Heat, Rudolph Mate's D.O.A., and Jerry Hopper's The Atomic City." [Art Abstracts]

Osteen, Mark.
"Framed: Forging Identities in Film Noir." Journal of Film and Video Volume 62, Number 3, Fall 2010 pp. 17-35
UC users only
Osteen, Mark.
"Noir's Cars: Automobility and Amoral Space in American Film Noir." Journal of Popular Film & Television, Winter 2008, Vol. 35 Issue 4, p183-192, 10p;
UC users only

Palmer, Bryan D.
"Night in the Capitalist, Cold War City: Noir and the Cultural Politics of Darkness." Left History 1997 5(2): 57-76.
"The dark and disorienting literary and film genre of noir, seen in the paintings of Edward Hopper and the films The Maltese Falcon (1941) and Night and the City (1950), fascinated avant-garde artists through its embrace of alienation and possible remedies. With the rise of the Cold War after World War II, the genre became one of the few politically discreet means of expressing leftist dissent." [From ABC-CLIO America: History and Life]

Pelizzon, V. Penelope, and Nancy West.
""A perfect double down to the last detail": photography and the identity of film noir." Post Script 22.3 (Summer 2003): 34(13).
UC users only

Pettengell, Michael.
"The Expanding Darkness: Naturalistic Motifs in Hard-Boiled Detective Fiction and the Film Noir." Clues: A Journal of Detection, vol. 12 no. 1. 1991 Spring-Summer. pp: 43-55.

Place, J. A. and Peterson, L.
"Some Visual Motifs of Film Noir." Film Comment, 10:1 (1974) pp: 30-32

Poague, Leland.
"Of Flashbacks and Femmes Fatales." Hitchcock Annual 1999-2000, 131-55.

Polan, Dana.
"Film Noir." Journal of Film and Video, (Spring 1985), pp: 75-83

Porfirio, Robert G.
"No way out; existential motifs in the film noir." Sight and Sound v 45 no4 Autumn 1976. p. 212-17
UC users only

Porfirio, Robert & Ursini, James.
"Samuel Fuller: About Film Noir." (interview). Images, 10, March 2001.
UC Users Only

"Quatre questions a sept ecrivains de la serie noire." Cahiers du Cinema no490 Apr 1995. p. 78-81
"Seven film noir writers respond to a number of questions on the cinema. Writers James Crumley, Thierry Jonquet, Jean-Patrick Manchette, Andreu Martin, Jean-Bernard Pouy, Juan Sasturain, and Donald Edwin Westlake answer questions related to the role of cinema in their training, the evolution of the detective genre, the genre as a viable subject matter for the cinema today, and the expectations they have for today's cinema." [Art Abstracts]

Rabinowitz, Paula.
"Domestic Labor: Film Noir, Proletarian Literature, and Black Women'sFiction." MFS: Modern Fiction Studies, 2001 Spring, 47:1,229-54.
UC Users Only

Rabinowitz, Paula.
"What Film Noir Can Teach Us about "Welfare as We Know It"."Social Text 18, no. 1 (2000): 135-141

Recchia, Edward
"Film Noir and the Western. The Centennial Review vol. 40 no. 3. 1996 Fall. pp: 601-14.

Renov, Michael
"Topos noir: the spacialization and recuperation of disorder." Afterimage v. 15 (October 1987) p. 12-6

Reyes, Carlos V.
"Film Noir's Dark Secret or What Does the Hysteric Want?" Canadian Journal of Film Studies, Spring2010, Vol. 19 Issue 1, p75-88, 14p
UC Users Only

Rosenberg, Norman.
"Looking For Law in All the Old Traces: The Movies Of Classical Hollywood, the Law, and the Case(S) Of Film Noir." UCLA Law Review, Aug2001, Vol. 48 Issue 6, p1443, 29p
UC users only

Schickel, Richard.
"Rerunning film noir: as Americans embraced the future after World War II." The Wilson Quarterly 31.3 (Summer 2007): 36(8).
UC users only

Schiff, Stephen
"Film noir."American Film v 8 May 1983. p. 21-3

Schrader, Paul
"Notes on Film Noir." Film Comment 8:1 (1972:Spring) 8

SEE ALSO:

Trbic, Boris.
"A thousand avenues, dark, seedy and glistening with evening rain: revisiting Paul Schrader's "Notes On Film Noir"." Australian Screen Education 37 (Winter 2004): 62(7). UC users only

Scruggs, Charles
"'The Power of Blackness': Film Noir and Its Critics." American Literary History. 16 (4): 675-87. 2004 Winter.
UC users only

Schultheiss, John
"The Noir artist." Films in Review v 40 Jan 1989. p. 33-5

Sharrett, Christopher.
"The Endurance of Film Noir. (continuing influence of dark, brooding film style on modern motion pictures)(Column) USA Today (Magazine) v127, n2638 (July, 1998):79.

Shillock, Larry T.
"Neither Noir." West Virginia University Philological Papers. 47:44-55. 2001

Silver, Alain
"Mr. Film Noir Stays At The Table: Robert Aldrich interviewed." Film Comment 8:1 (1972:Spring) 1

Smith, Murray.
"Film Noir, the Female Gothic and Deception." Wide Angle, vol. 10 no. 1. 1988. PAGES: 62-75.

Smith, S.
"Godard and Film Noir: A Reading of 'A Bout de Souffle'" Nottingham French Studies, 1993 Spring, V32 N1:65-73.

Syamala, T.
"Film Noir: Contribution Of Raymond Chandler To American Cinema." Indian Journal of American Studies 1995 25(2): 77-81.

Tabrizian, Mitra
"'Correct Distance' a photo-text on Film Noir." Feminist Review 18 (1984:Winter) 50
UC users only

Taubin, Amy.
"L. A. Lurid." Sight and Sound, vol. 7 no. 11. 1997 Nov. pp: 7-9.

Telotte, J.P.
"The Big Clock of Film Noir," Film Criticism , 1990 Winter, V14 N2:1-11.
UC users only

Telotte, J.P.
"The Call of Desire and the Film Noir." Literature-Film Quarterly v17, n1 (Jan, 1989):50 (9 pages).
UC users only

Telotte, J. P.
"A Consuming Passion: Food and Film Noir." The Georgia Review, vol. 39 no. 2. 1985 Summer. pp: 397-410.

Telotte, J.P.
"Fatal Capers: Strategy and Enigma in Film Noir" Journal of Popular Film and Television, 1996 Winter V23 N4:163-170.
UC users only
The concept that the film noir genre is an effort at catharsis following the trauma that was World War II is disproved by its continuing proliferation. One change that has occurred is the 'caper film' category. This category portrays criminal activities involving an elaborate strategy that through an absurd cosmic twist turns it fatal. At the core is a concerted effort at an anti-social response to social institutions that dehumanize individuals, especially those at the periphery. Classic examples include 'The Asphalt Jungle,' 'The Killers,' 'Criss Cross,' 'Reservoir Dogs' and 'Pulp Fiction.'.

Telotte, J.P.
"Film Noir and the Dangers of Discourse." Quarterly Review of Film Studies, 9:2 (Spring 1984) pp: 101-

Telotte, J.P.
"Film Noir and the Double Indemnity of Discourse." Genre, 18:1 (Spring 1985) pp: 57-

Telotte, J.P.
"Outside the System: The Documentary Voice of "Film Noir" New Orleans Review 14:2 (1987:Summer) 55

Telotte, J. P.
"Siodmak's Phantom Woman and Noir Narrative." Film Criticism, vol. 11 no. 3. 1987 Spring. pp: 1-10.
UC users only

Telotte, J.P.
"Self-Portrait: Painting and the Film Noir." Smithsonian Studies in American Art, Vol. 3, No. 1. (Winter, 1989), pp. 2-17.
UC users only

Telotte, J. P.
"Tangled Networks and Wrong Numbers." Film Criticism, vol. 10 no. 3. 1986 Spring. pp: 36-48.
UC users only

Vernet, Marc.
"The Filmic Transaction: On the Openings of Film Noirs." The Velvet Light Trap, vol. 20. 1983 Summer. pp: 2-9.

Van Wert, William.
"Philip Marlowe: Hardboiled to Softboiled to Poached." Jump Cut, 3 (1974) pp: 10-13

Vernet, Marc.
"The Filmic Transaction: On the Openings of Film Noirs." The Velvet Light Trap - A Critical Journal of Film and Television 20 (Summer 1983) p. 2
UCB Users Only

Wager, Jans B.
"Jazz and cocktails: reassessing the white and black mix in film noir." Literature-Film Quarterly 35.3 (July 2007): 222(7).
UCB Users Only

Walker, Deborah
"From Honest Thief to Media Sociopath: American Culture Through French Film Noir."
Online journal

Webb, Michael.
"Film noir posters: vintage images imbued with the thrill of pulp fiction." Architectural Digest v57, n4 (April, 2000):102 (5 pages).

Wegner, Hart
"From Expressionism to "Film Noir": Otto Preminger's "Where the Sidewalk Ends" Journal of Popular Film and Television 11:2 (1983:Summer) 56
UC users only

White, S.
"Veronica-Clare and the New Film-Noir Heroine." Camera Obscura (33-34) 75-100 May-Jan 1995

Whitehall, Richard.
"Some Thoughts on Fifties Gangster Films." The Velvet Light Trap, 11 (1974) pp: 17-19

Whitney, John S.
"Filmography of Film Noir." Journal of Popular Film 5:3/4 (1976) 321
UC users only

White, Susan.
"Veronica Clare and the New Film Noir Heroine." Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 33-34. 1995. pp: 78-100.

Whalen, Tom.
"Film Noir: Killer Style." Literature-Film Quarterly v23, n1 (Jan, 1995):2 (4 pages).

White, Susan.
"Veronica Clare and the New Film Noir Heroine." Camera Obscura, vol. 33-34 no. -. 1995. pp: 78-100.

Whitney, John S.
"Filmography of Film Noir." Journal of Popular Film 5:3/4 (1976) p.321
UC users only

Willson, Robert F., Jr
"A double life: Othello as film noir thriller." Shakespeare on Film Newsletter (11:1) 3, 10.

Young, Paul.
"(Not) the Last Noir Essay: Film Noir and the Crisis of Postwar Interpretation." Minnesota Review.55-57:203-21. 2002

Younger, Richard.
"Song in Contemporary Film Noir." Films in Review v45, n7-8 (July-August, 1994):48 (3 pages).
"The writer discusses how songs have become increasingly important in modern film. With their added element of lyrical text and because of the psychological undercurrent found in many films noir, songs have been used to foreshadow events, develop themes, further plots, indicate a character's mood, and underscore irony. The songs in the musical scores of the following films are discussed: Someone To Watch Over Me, Sea Of Love, Scarlet Street, Farewell My Lovely, Detour, Out Of The Past, and Blue Velvet." [Art Abstracts]

Reviews and Articles About
Individual Films in the MRC Collection

Act of Violence

Arthur, Paul.
"Noir Happens." Film Comment; Jul/Aug99, Vol. 35 Issue 4, p56, 3p
UC users only

Brook, Vincent.
"Pathological Noir, Populist Noir, and an Act of Violence: John Brahm, Anatole Litvak, Fred Zinnemann." In: Driven to darkness : Jewish émigré directors and the rise of film noir / Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

Dixon, Wheeler W.
"Act of Violence and the Early Films of Fred Zinnemann." Film Criticism v. 18-19 (Spring/Fall 1994) p. 1-166
UC users only

Dixon, Wheeler W.
"Act of Violence (1949) and the Early Films of Fred Zinnemann." In: The films of Fred Zinnemann : critical perspectives / edited by Arthur Nolletti, Jr. Albany : State University of New York Press, c1999.
Main Stack PN1998.3.Z56.F56 1999

Donohue, Walter.
"Fred Zinnemann interviewed." In: Film-makers on film-making / edited by John Boorman and Walter Donohue. London : Faber and Faber, 1996.
Main (Gardner) Stacks PN1994 .F43912 1996

The films of Fred Zinnemann : critical perspectives
Edited by Arthur Nolletti, Jr. Albany : State University of New York Press, c1999.
Main (Gardner) Stacks PN1998.3.Z56 F56 1999

"Fred Zinnemann."
In: Conversations with the great moviemakers of Hollywood's golden age at the American Film Institute / edited and with an introduction by George Stevens, Jr. New York : A. A. Knopf, 2006.
Main (Gardner) Stacks PN1998.2 .A45

Phillips, Gene D.
"Fred Zinnemann." In: Exiles in Hollywood : major European film directors in America / Gene D. Phillips.
Main (Gardner) Stacks PN1998.2 .P54 1998)

Phillips, Gene D.
"Fred Zinnemann: Act of violence." In: Out of the shadows : expanding the canon of classic film noir / Gene D. Phillips. Lanham : Scarecrow Press, Inc., 2012. \
Main (Gardner) Stacks PN1995.9.F54 P475 2012

Sinyard, Neil.
Fred Zinnemann : films of character and conscience / Neil Sinyard. Jefferson, N.C. : McFarland & Company, c2003.
Main (Gardner) Stacks PN1998.3.Z56 S56 2003

Angel Heart

"Alan Parker." (director of "Midnight Express" and "Angel Heart") (interview)American Film v13, n4 (Jan-Feb, 1988):12 (1 page).

Arnett, Robert.
"Eighties noir: the dissenting voice in Reagan's America.(analysis of outstanding film noir works in the 1980s)." Journal of Popular Film and Television 34.3 (Fall 2006): 123(7).
UC users only

Fry, Carroll L.
"The devil you know: satanism in 'Angel Heart.'" Literature-Film Quarterly v19, n3 (July, 1991):197 (7 pages)
UC users only
"Alan Parker's 'Angel Heart' continues the recent film trend of allowing the Devil to carry the day. Parker's film is replete with Satanic symbolism,although the depiction may not be consistent with actual practice. The characterization of Cyphere (Lucifer) as being on higher moral ground than Johnny Favorite/Harry Angel justifies Satan's ultimate victory." [Magazine Index]

Gates,Larry.
"Angel Heart: Descent into the Imaginal." Journal of Evolutionary Psychology, 1989 Mar., 9:1-2, 33-40.

Morgan, Jack
"Reconfiguring Gothic Mythology: The "Film Noir" - Horror Hybrid Films of the 1980s." Post Script - Essays in Film and the Humanities 21:3 (Summer 2002) p. 72-86
UC users only

Russell, Sharon A.
"Mystery and Horror and the Problems of Adaptation in Angel Heart and Falling Angel." In: It's a print!: detective fiction from page to screen / edited by William Reynolds, Elizabeth A. Trembley. pp: 159-73 Bowling Green, OH; Bowling Green State University Popular Press, c1994.
Main Stack PN1995.3.R4 1994

Wager, Jans B.
"Percolating Paranoia: Fritz Lang's The Big Heat." Bright Lights January 2000 | Issue 27

Zizek, Slavoj.
"'The Thing That Thinks': The Kantian Background of the Noir Subject."In: Shades of Noir: A Reader Edited by Joan Copjec. pp: 199-226. London; New York: Verso, 1993.
UCB Main PN1995.9.F54 S5 1993

The Big Clock

Palmer, R.B.
"Film Noir and the Genre Continuum: Process, Product and The Big Clock." Persistence of Vision, /3-4, Summer 86; p.51-60.
Analyses the adaptation of "The Big Clock" from novel to film, in terms of the syntax of film noir.

Schleier, Merrill
"Masculine Heroes, Modernism, and Political Ideology in The Fountainhead and The Big Clock" In: Skyscraper cinema : architecture and gender in American film / Merrill Schleier. Minneapolis : University of Minnesota Press, c2009.
Full text available online [UC Berkeley users only]
Environmental Design PN1995.9.S5535 S35 2009)
PFA PN1995.9.S5535 S35 2009

Schleier, Merrill
"The Grid, the Spectacle and the Labyrinth in The Big Clock's Skyscraper: Queered Space and Cold War Discourse." Film Studies 11 (Winter 2007) Issue p. 37-48
UC users only
"Part of a special section on sexuality and the city in film. The noir thriller The Big Clock (1948) rehearses aspects of conservative Cold War political discourse through a multitude of architectural tropes and idioms. Pitting its hero (played by Ray Milland) against a homosexually inflected villain (played by Charles Laughton), The Big Clock presents a battle for normative heterosexuality against marginalized homosexuality in an International Style corporate skyscraper office, which serves as a spatial metaphor for the entire U.S.A. The film's spatiality calls for the rooting out of foreign-born homosexual infiltrators or aliens posing as enlightened capitalist entrepreneurs. The Big Clock is typical of film noir's tendency--particularly at the height of the Cold War--to depict marginalized gender variants and homosexual characters as pathological. The film ends with a reassertion of the primacy of heterosexual masculinity and matrimony, while simultaneously liberating capitalist skyscraper space from decadent homosexual infiltrators." [Art Index]

Telotte, J.P.
"The Big Clock of Film Noir." Film Criticism, XIV/2, Winter 89-90; p.1-11.
UC users only
Analyses the place of film noir in the emergence of modernist film narrative, highlighting time-conscious films "The Big Clock", "Laura" and "Kiss me Deadly".

The Big Heat

See Fritz Lang bibliography

The Big Sleep

See Howard Hawk bibliography

Black Angel

Gates, Philippa.
"The Maritorious Melodrama: Film Noir with a Female Detective." Journal of Film & Video, Fall2009, Vol. 61 Issue 3, p24-39, 16p
UC users only

Payne, Kenneth.
"The Angel as Anti-Detective in Cornell Woolrich's The Black Angel." Lamar Journal of the Humanities, vol. 25, no. 1, pp. 35-52, Spring 2000

Payne, Kenneth.
"Ontological Disruptions in Cornell Woolrich's The Black Angel." Notes on Contemporary Literature, vol. 27, no. 2, pp. 3-6, Mar 1997

Phelps, Donald.
"Cinema Gris: Woolrich/Neill's Black Angel." Film Comment, vol. 36, no. 1, pp. 64-69, January 2000
UC users only

Renzi, Thomas C.
"Black Angel." In: Cornell Woolrich: from pulp noir to film noir Jefferson, N.C. : McFarland & Co., c2006.
MAIN: PS3515.O6455 Z85 2006

Black Widow

Arnett, Robert.
"Eighties noir: the dissenting voice in Reagan's America.(analysis of outstanding film noir works in the 1980s)." Journal of Popular Film and Television 34.3 (Fall 2006): 123(7).
UC users only

Boozer, Jack
"The Lethal Femme Fatale in the Noir Tradition." Journal of Film and Video Vol. 51, No. 3/4, dedicated to Nina Leibman (Fall/Winter 1999/2000), pp. 20-35
UC users only

Davis, Kathe.
"The allure of the predatory woman in Fatal Attraction and other current American movies." Journal of Popular Culture; Winter92, Vol. 26 Issue 3, p47, 11p
UC users only

De Lauretis, Teresa.
"Guerrilla in the midst: women's cinema in the 80s." Screen, 1990, Vol. 31 Issue 1, p6-25, 20p
UC users only

Denzin, Norman K.
"Women at the Keyhole: Fatal Female Visions." Symbolic Interaction, Summer95, Vol. 18 Issue 2, p165-190, 26p
UC users only

Evans, Nicola.
"Playful masquerades and critical postures: theorizing the feminist." Spectator: The University of Southern California Journal of Film & Television, 1990, Vol. 10 Issue 2, p6-27, 22p

Hanson, Helen.
"Professional Investigators and Femmes Fatales in Neo-Noir." In: Hollywood heroines : women in film noir and the female gothic film / by Helen Hanson. p. 158 London ; New York : I.B. Tauris : In the United States and Canada distributed by Palgrave Macmillan, 2007.
Full text available online (UC Berkeley users only)
Heung, Marina
"Black Widow" Film Quarterly Vol. 41, No. 1 (Autumn, 1987), pp. 54-58
UC users only

Tasker, Yvonne
"Investigating Women: Work, Criminality, and Sexuality." In: Working girls : gender and sexuality in popular cinema / Yvonne Tasker. London ; New York : Routledge, 1998. pp: 105-108
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.W6 T36 1998
Pacific Film Archive PN1995.9.W6 T36 1998

Traub, Valerie.
"The Ambiguities of "Lesbian" Viewing Pleasure: The (Dis)Articulations of Black Widow." In: Out in culture : gay, lesbian, and queer essays on popular culture / edited by Corey K. Creekmur and Alexander Doty. Durham : Duke University Press, 1995.
Main (Gardner) Stacks HQ76.2.U5 O98 1995
Ethnic Studies HQ76.2.U5 O98 1995

Blackboard Jungle

Golub, Adam
"They Turned a School Into a Jungle! How The Blackboard Jungle Redefined the Education Crisis in Postwar America." Film & History: An Interdisciplinary Journal of Film and Television Studies Volume 39.1 (Spring 2009) pp. 21-30
UC users only

Hatch, Robert.
"Theater and Film." Nation, 4/2/1955, Vol. 180 Issue 14, p293-295, 3p
UC users only

Leopard, Dan.
"Blackboard Jungle: The Ethnographic Narratives of Education on Film." Cinema Journal, Summer2007, Vol. 46 Issue 4, p24-44, 21p
UC users only

McCoy, Beth.
"Manager, Buddy, Delinquent: Blackboard Jungle's Desegregating Triangle." Cinema Journal, 1998, 38:1, 25-39.
UC users only

Medovoi, Leerom.
"Reading the Blackboard: Youth, Masculinity, and Racial Cross-Identification." In: Race and the Subject of Masculinities / Harry Stecopoulos and Michael Uebel, editors. pp: 138-69. Durham: Duke University Press, 1997.
Main Stack HQ1075.R33 1997)

Paul, Dierdre Glenn.
"The Blackboard Jungle: Critically Interrogating Hollywood's Vision of the Urban Classroom." MultiCultural Review, vol. 10, no. 1, pp. 20-27, 58-60, March 2001.

Perlstein, Daniel
"Imagined Authority: Blackboard Jungle and the Project of Educational Liberalism." Paedagogica Historica, Volume 36, Issue 1 2000 , pages 407 - 424 Daniel Perlstein a
UC users only

Schwartz, Delmore.
"Underwater!/ The Blackboard Jungle." New Republic, 4/11/55, Vol. 132 Issue 15, p29-30, 2p

Simmons, Jerold.
"Violent youth: The censoring and public reception of The Wild One and The Blackboard Jungle." Film History: An International Journal Volume 20, Number 3, 2008
UCB users only

Blade Runner

Blue Velvet(David Lynch, 1986)

Body and Soul(Robert Rossen, 1947)

Baker, Aaron
"Midtown Jewish Masculinity in Body and Soul." In: City that never sleeps : New York and the filmic imagination / edited by Murray Pomerance. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.N49 C58 2007

Casty, Alan.
"The Films of Robert Rossen." Film Quarterly Vol. 20, No. 2 (Winter, 1966), pp. 3-12
UC users only

Casty, Alan.
The films of Robert Rossen. New York, Museum of Modern Art; distributed by New York Graphic Society, Greenwich, Conn. [1969]
full text available online)
MAIN: PN1998.A3 R673; Storage Info: B 3 569 727)

Grindon, Leger.
"Body and Soul: The Structure of Meaning in the Boxing Film Genre." Cinema Journal Vol. 35, No. 4 (Summer, 1996), pp. 54-69
UC users only

Hands, Stuart
"Body and Soul." CineAction. 9 (Winter 2010) p36.
UC users only

Neve, Brian.
"The Hollywood Left: Robert Rossen and Postwar Hollywood." Film Studies Volume 7, Winter 2005, pp 54-65

Stanfield, Peter.
"A monarch for the millions : Jewish filmmakers, social commentary, and the postwar cycle of boxing films." In: "Un-American" Hollywood : politics and film in the blacklist era / edited by Frank Krutnik ... [et al.]. New Brunswick, N.J. : Rutgers University Press, c2007.
full text available online)
Main (Gardner) Stacks PN1995.9.P6 U5 2007

Cape Fear(J. Lee Thompson, 1962; and Martin Scorsese, 1991)

Anez,-Nicholas.
"Cape Fear." Films in Review v 42 Sept/Oct 1991. p. 290-301.

Canby, Vincent.
"Cape Fear." (Living Arts Pages) (movie reviews) New York Times v141 (Wed, Nov 13, 1991):B1(N), C17(L), col 1, 22 col in.

Cauthen, Cramer R.; Alpin, Donald-G.
"The Gift Refused: The Southern Lawyer in To Kill a Mockingbird, The Client, and Cape Fear." Studies in Popular Culture, . 1996 Oct, 19:2, 257-75.

Casillo, Robert.
"School for Skandalon: Scorsese and Girard at Cape Fear." Italian-Americana, 1994 Summer, 12:2, 201-25.

Castellitto, George P.
"Imagism and Martin Scorsese: Images Suspended and Extended." Literature-Film Quarterly, 1998, 26:1, 23-29. UC users only

Cook, Pam.
"Cape Fear and Femininity as Destructive Power." In: Women and film; a Sight and sound reader / edited by Pam Cook and Philip Dodd. pp: 132-37 Philadelphia; Temple University Press, 1993. Culture and the moving image.
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993

Cook, Pam.
"Scorsese's Masquerade." (femininity in Martin Scorsese's film, 'Cape Fear') Sight and Sound, 1992 Apr,14-15.

Corliss, Richard.
"Filming at full throttle." (Martin Scorsese) Time v138, n19 (Nov 11, 1991):84 (2 pages).
Director Martin Scorsese's films have always dealt with the seamier and violent aspects of life on the edge. His new movie, 'Cape Fear,' is a remake of the 1962 classic that has an ex-con terrorizing the family of the lawyer who sent him to prison.

Diski, Jenny.
"The shadow within." (comparison of two versions of the movie 'Cape Fear') Sight and Sound v1, n10 (Feb, 1992):12 (2 pages).

Freed, John.
"Violence and southern films." (analysis of 'Cape Fear' and 'The Prince of Tides') Films in Review v43, n9-10 (Sept-Oct, 1992):307 (3 pages).
"Martin Scorsese's 'Cape Fear' and Barbra Streisand's 'The Prince of Tides' are both set in the south with violence being a common theme. The violence these films portray, however, is not isolated in the southern locales. What is made apparent by both films is the link between the violent psyche of Americans and the deep south existing in the collective unconscious of the film industry. The difference between Scorsese and Streisand is basically rooted in the male and female attitudes toward violence." [Magazine Index]

Garcia, Maria.
"Cape Fear." (motion picture review) Films in Review v 43 Jan/Feb 1992. p. 43-4.

Hoberman, J.
"Sacred and profane." (Martin Scorsese's remake of the movie 'Cape Fear') Sight and Sound v1, n10 (Feb, 1992):8 (4 pages).

Jousse, Thierry
"Cape Fear." (motion picture review) Cahiers du Cinema no453 Mar 1992. p. 60-2.

Kolker, Robert P.
"Algebraic Figures: Recalculating the Hitchcock Formula." In: Play it again, Sam; retakes on remakes / edited by Andrew Horton and Stuart Y. McDougal; with an afterword by Leo Braudy. pp: 34-51. Berkeley; University of California Press, c1998.
Media Center PN1995.9.R45.P58 1998
Main Stack PN1995.9.R45.P58 1998

McRobbie, Angela
"Cape Fear." (motion picture review) Sight and Sound v 1 Mar 1992. p. 39-40.

Montgomery, Lane H.
"Blood on the big screen." (excess of senseless violence in motion pictures) (Column) Washington Post v114 (Sat, Nov 23, 1991):A27, col 6, 10 col in.

Morgan, David.
"Nowhere to hide; a lawyer faces his own nemesis in 'Cape Fear.'" ABA Journal v78 (Feb, 1992):50 (4 pages).
"Martin Scorsese's remake of 'Cape Fear' portrays an attorney's struggle with his own hypocrisy. Attorney Sam Bowden is 'tried' by a former client, Max Cady. Bowden suppressed evidence which might have exonerated Cady. Nick Nolte's performance as Bowden explores the 'lawyer mask', which some practitioners hide behind, espousing ethics and objectivity in professional life, but not living up to these codes in personal life." [Magazine Index]

Morgan, David.
"A remake that can't miss: Cape Fear." American Cinematographer v 72 Oct 1991. p. 34-8+.

Rapping, Elayne.
"Yuppie horror films." ('The Hand that Rocks the Cradle;' 'Cape Fear;' 'Grand Canyon') Progressive v56, n6 (June, 1992):34 (3 pages).
Films which cater to the fears of the upper middle class have been very successful recently. While not billed as horror films, these three focus on the manipulation of yuppies' fear of crime and realistically portray a violent world that is growing scarier than fiction.

Sharrett, Christopher.
"Martin Scorsese's America." (film director) (Column) USA Today (Magazine) v120, n2562 (March, 1992):69 (1 page).
Film director Martin Scorsese has been exploring the soul of America since his 1973 film 'Mean Streets.' Scorsese's films depict violence and sexuality in a culture obsessed with images in the media. 'Cape Fear,' Scorsese's most recent film, is discussed in relation to his earlier works.

Wilson, Robert Rawdon.
"Graffiti Become Terror: The Idea of Resistance." Canadian Review of Comparative Literature-Revue Canadienne de Litterature-Comparee, 1995 June, 22:2, 267-85.

Cat People

See Horror Film bibliography

Caught

See Max Ophüls bibliography

Chinatown

See Roman Polanski bibliography

Criss Cross

See Robert Siodmak bibliography

Crossfire

Callahan, Dan
"Fatal Instincts: The Dangerous Pout of Gloria Grahame." Bright Lights Films Journal, August 2008 | Issue 61

Corber, Robert J.
"Real American history": Crossfire and the increasing invisibility of gay men in the Cold War era." In: Homosexuality in Cold War America: resistance and the crisis of masculinity / Robert J. Corber. p. 79-104. Durham [N.C.]: Duke University Press, 1997. New Americanists.
Main Stack HQ76.3.U5.C65 1997

Fox, Darryl
"Crossfire" and "Huac": Surviving the Slings and Arrows of the Committee." Film History, Vol. 3, No. 1 (1989), pp. 29-37
UC users only

Leff, Leonard J.
"Film into Story: The Narrative Scheme of Crossfire." Literature/ Film Quarterly, vol. 12 no. 3. 1984. pp: 171-179.
UC users only

Rosenbaum, Julia B.
"Recasting the Victim in Crossfire." In: Visions of belonging : New England art and the making of American identity / Julia B. Rosenbaum. Ithaca : Cornell University Press, 2006.
Full text available online [UCB users only]
Main (Gardner) Stacks; E169 .S655 2004
PFA E169 .S655 2004

Dark Passage

Polan, Dana B.
"Blind Insights and Dark Passages: The Problem of Placement in Forties Films." The Velvet Light Trap, vol. 20. 1983 Summer. pp: 27-33
UC users only
Looks at the political history of narrative by comparing two US films from the 1940's: "Pride of the marines" and "Dark Passage".

Telotte, J. P.
"Seeing in a Dark Passage." Film Criticism, vol. 9 no. 2. 1984-1985 Winter. pp: 15-27
UC users only

Detour

See Edgar G. Ulmer bibliography

Devil in a Blue Dress

Alleva, Richard.
"Devil in a Blue Dress." (movie reviews) Commonweal v122, n19 (Nov 3, 1995):16 (2 pages).

Ansen, David.
"Devil in a Blue Dress." (movie reviews) Newsweek v126, n14 (Oct 2, 1995):85.

Bastiaans, Aisha D.
"Detecting Difference in Devil in a Blue Dress: The Mulatta Figure, Noir, and the Cinematic Reification of Race." In: Mixed race Hollywood / edited by Mary Beltrán and Camilla Fojas. New York : New York University Press, c2008.
Comparative Ethnic Studies PN1995.9.R23 M59 2008
Main (Gardner) Stacks PN1995.9.R23 M59 2008

Berrettini, Mark L.
Private Knowledge, Public Space: Investigation and Navigation in Devil in a Blue Dress. Cinema Journal vol. 39 no. 1. 1999 Fall. pp: 74-89.
"Carl Franklin's film Devil in a Blue Dress (1995) is discussed. The filmdevelops out of Los Angeles film-noir history in its use of, among othernoir conventions, Los Angeles as a setting in which investigationalnarratives occur. In the film, Los Angeles serves as a quintessential"American" space in which cultural anxieties about race, gender, andracial purity are contained, examined, and exploded. Set in 1948, the filmfocuses on crime, corruption, and strained social bonds, depicting aportion of Los Angeles culture that, because it lacks moral light, isconsidered, metaphorically, to be "dark." The film interrogates the verydarkness that is central to this metaphor while also exploring theracialized equation of criminality and darkness-blackness using a plot thatconcentrates on questions regarding racialized social relations." [Art Index]

Cripps, Thomas.
"Devil in a Blue Dress." (movie reviews) American Historical Review v102, n1 (Feb, 1997):250 (2 pages).

Dargis, Manohla.
"Devil in a Blue Dress." (movie reviews) Sight and Sound v6, n1 (Jan, 1996):38.

Denby, David.
"Devil in a Blue Dress." (movie reviews) New York v28, n39 (Oct 2, 1995):82.

Guerrero, Ed.
"Devil in a Blue Dress." (movie reviews) Cineaste v22, n1 (Wntr, 1996):38 (3 pages).

Kauffmann, Stanley.
"Devil in a Blue Dress." (movie reviews) New Republic v213, n18 (Oct 30, 1995):34.

Klawans, Stuart.
"Devil in a Blue Dress." (movie reviews) Nation v261, n13 (Oct 23, 1995):480 (2 pages).

Lefebure, Leo D.
"Devil in a Blue Dress." (movie reviews) Christian Century v113, n17 (May 15, 1996):551 (2 pages).

Mason, Theodore O., Jr.
"Walter Mosley's Easy Rawlins: The Detective and Afro-American Fiction." The Kenyon Review, vol. 14 no. 4. 1992 Fall.

Nieland, Justus J.
"Race-ing Noir and Re-Placing History: The Mulatta and Memory in One False Move and Devil in a Blue Dress." Velvet Light Trap vol. 43 pp: 63-77 (1999 Spring)
">

Oliver, Kelly.
"Franklin's New Noir: Devil in a Blue Dress." In: Noir anxiety / Kelly Oliver, Benigno Trigo. Minneapolis : University of Minnesota Press, c2003.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.F54 O44 2003)

Pawelczak, Andy.
"Devil in a Blue Dress." (movie reviews) Films in Review v47, n1-2 (Jan-Feb, 1996):62 (2 pages).

Rafferty, Terrence.
"Devil in a Blue Dress." (movie reviews) New Yorker v71, n30 (Oct 2, 1995):104 (2 pages).

Rich, B. Ruby
"Dumb Lugs and Femmes Fatales: Film Noir is Back with a Vengeance, From "The Last Seduction" to "Devil in a Blue Dress," but its Noir with a Difference" Sight and Sound, 1995 Nov, V5 N11:6-10.
UC users only
"An analysis of contemporary manifestations of film noir. Carl Franklin's Devil in a Blue Dress is revisionist noir. To the extent that it has a "happy" ending and features dreamily amber cinematography, Devil qualifies as a high-class Hollywood addition to 1990s noir, an adjunct to rather than a member of Neo noir. The film reprises the heady, atmospheric tunes of early classic noir, whereas Neo Noir of the 1990s looks for its inspiration to the psychotic years of late noir (already tinged with parody and subversion). Devil focuses on a drama of good and evil, believing that something momentous hangs in the balance, and rejecting the casual nihilism that otherwise tends to accompany the Neo noir project. The representation of women in both noir and Neo Noir is also discussed." [Art Abstracts]

Saada, Nicolas
"Devil in a Blue Dress." (movie reviews)Cahiers du Cinema no498 Jan 1996. p. 78
"A review of Carl Franklin's film Devil in a Blue Dress (1995). Adapted from Walter Mosley's novel, this film tells the story of an unemployed black man who becomes a private detective when a friend introduces him to a curious individual who is looking for a missing woman. The film, which explores racial problems in 1940s America, has a certain atmosphere, but the director's desire to revive the film noir genre while changing its rules does not work.

Schickel, Richard.
"Devil in a Blue Dress." (movie reviews) Time v146, n14 (Oct 2, 1995):72.

Shapiro , Michael J.
"The racial-spatial order and the law : Devil in a blue dress." In: Law on the screen / edited by Austin Sarat, Lawrence Douglas, Martha Merrill Umphrey. Stanford, Calif. : Stanford University Press, 2005.
Main (Gardner) Stacks PN1995.9.J8 L42 2005

Shefrin, Elana
"Le Noir et le Blanc: Hybrid Myths in Devil in a Blue Dress and L.A. Confidential." Literature/Film Quarterly. 2005. Vol. 33, Iss. 3; p. 172 (10 pages)
UC users only

Travers, Peter.
"Devil in a Blue Dress." (movie reviews) Rolling Stone, n718 (Oct 5, 1995):75 (3 pages).

Voss, Karen,
"Replacing L.A.: Mi Familia, Devil In a Blue Dress, and Screening the Other Los Angeles." Wide Angle - Volume 20, Issue 3 1998

Double Indemnity

See Billy Wilder bibliography

Farewell My Lovely

Luhr, William.
"Adapting Farewell, my lovely." In: A companion to literature and film / edited by Robert Stam, Alessandra Raengo. Malden, MA; Oxford: Blackwell Pub., 2004.
MAIN: PN1995.3 .C65 2004; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004017778.html

Luhr, William.
"Pre-, Prime-, And Post-Film Noir: Raymond Chandler's Farewell, My Lovely And Three Different Film Styles." Michigan Academician 1982 15(1): 125-131.
Discusses three films, all based on Raymond Chandler's novel, Farewell, My Lovely, and all part of the film style called film noir; the films are: The Falcon Takes Over (1942), Murder My Sweet (1944), and Farewell, My Lovely (1975).

Manon, Hugh S.
"Some Like It Cold: Fetishism in Billy Wilder's Double Indemnity." Cinema Journal - 44, Number 4, Summer 2005, pp. 18-43
UC users only
"This essay employs psychoanalytic theory to identify a fetishistic imperative in the perfect crime that Walter Neff endeavors to commit in Billy Wilder's Double Indemnity. By favoring ongoing manipulation over goal attainment and satisfaction, Walter Neff engages in a virtuoso cover-up that represents a paradigmatic noir deception, inviting viewers to fantasize that there may always be "more than meets the eye."" [Project Muse]

Pelizzon, V. Penelope; West, Nancy Martha
"Multiple Indemnity: Film Noir, James M. Cain, and Adaptations of a Tabloid Case." Narrative Volume 13, Number 3, October 2005, pp. 211-237
UC users only

Force of Evil

Brinckmann, Christine Noll.
"The Politics of Force of Evil" An Analysis of Abraham Polansky's Preblacklist Film." Prospects 1981 6: 357-386.

Duncan, Paul.
"Force of Evil." In: Film Noir Trafalgar Square Pub., North Pomfret, VT: 2000.
Full-text of this book available online [UC Berkeley users only]

Humphries, Reynold.
"When Crime Does Pay: Abraham Polonsky's Force of Evil (1948)." Q/W/E/R/T/Y: Arts, Litteratures & Civilisations du Monde Anglophone. 11: 205-10. 2001 Oct.

Pechter, William; Abraham Polonsky.
"Abraham Polonsky and "Force of Evil." Film Quarterly Vol. 15, No. 3, Special Issue on Hollywood (Spring, 1962), pp. 47-54
UC users only

Polonsky, Abraham.
Force of evil : the critical edition / by Abraham Polonsky ; annotations and critical commentary by John Schultheiss ; edited by John Schultheiss and Mark Schaubert. Northridge, CA : Center for Telecommunication Studies, California State University, Northridge, 1996.
Main Stack PN1997.F578.P65 1996
PFA PN1997.F6.P65 1996)

Shadoian, Jack.
"The Genre’s 'Enlightenment': The Stress and Strain for Affirmation: Force of Evil (1948)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

Smith, Imogen Sara
" Plumbing the Depths of Capitalism: On Force of Evil." Bright Lights Films Journal, August 2008 | Issue 61

Tracey, Grant.
"Force of Evil" (10 Shades of Noir) Images, issue 2.

Gilda

Biesen, Sheri Chinen
"Virginia Van Upp and Gilda." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Dick, Bernard F.
"Columbia's dark ladies and the femmes fatales of film noir." Literature Film Quarterly; 1995, Vol. 23 Issue 3, p155, 8p,
Focuses on film noirs as a kind of filmmaking and a cinematic style with recognizable features. Expressionistic techniques in crime movies; Entry of Columbia Pictures in the noir market; Noir elements in Columbia's films; Eclectic approach of Columbia to noir; `Gilda' as a specific kind of women's film; `In a Lonely Place' as Columbia's best noir.

Dittmar, Linda.
"From Fascism to the Cold War: Gilda's 'Fantastic' Politics." Wide Angle, vol. 10 no. 3. 1988. pp: 4-18
Discusses "Gilda" and its political, war-time setting in terms of the fantastic.

Doane, Mary Ann.
"Gilda: Epistemology as Striptease." Camera Obscura, vol. 11. 1983 Fall. pp: 6-27.

Dyer, Richard.
"Resistance through Charisma: Rita Hayworth and Gilda." In: In: Women in Film Noir. Edited by E. Ann Kaplan. pp: 91-99.. Rev. ed. London: BFI Publishing, 1980.
UCB Main PN1995.9.W6 W66 1980
UCB Moffitt PN1995.9.W6 W66 1980

Doane, Mary Ann.
"Gilda: Epistemology as Striptease." Camera Obscura, vol. 11. 1983 Fall. pp: 6-27
"Gilda" effectively demonstrates the difficulty posed by the woman as a threat to epistemological systems.

Forter, Greg.
"Going Straight with Gilda." Qui Parle: Literature, Philosophy, Visual Arts, History, vol. 4 no. 2. 1991 Spring. PAGES: 8-22.

Forter, Greg
"Going Straight with Gilda" Qui Parle: Literature, Philosophy, Visual Arts, History, vol. 4, no. 2, pp. 8-22, 1991 Spring

Frost, Derek T.
"Cinematic Artifice in Puig's The Buenos Aires Affair: The Case of Gilda." West Virginia University Philological Papers, vol. 41 no. -. 1995. pp: 119-23.

Lenz, Kimberly.
"Put the Blame on Gilda: Dyke Noir vs. Film Noir." Theatre Studies, vol. 40. 1995. pp: 17-26.

McLean, Adrienne L.
Being Rita Hayworth : labor, identity, and Hollywood stardom / Adrienne L. McLean. New Brunswick, N.J. : Rutgers University Press, c2004.
Main (Gardner) Stacks PN2287.H38 M35 2004

McLean, Adrienne L.
"I told you not to move-I mean it! : cross-examining Gilda and The lady from Shanghai." In: Being Rita Hayworth : labor, identity, and Hollywood stardom / Adrienne L. McLean. New Brunswick, N.J. : Rutgers University Press, c2004.
Main Stack PN2287.H38.M35 2004
Table of contents http://www.loc.gov/catdir/toc/ecip048/2003018837.html

McLean, Adrienne L.
"""It's only that I do what I love and love what I do": film noir and the musical woman." Cinema Journal; 1993, Vol. 33 Issue 1, p3-16, 14p
UC users only

Parsi, Novid
"Projecting heterosexuality, or what do you mean by "it"?" Camera Obscura; May 1996, Issue 38, p162-186, 25p
UC users only

Swift, William J.; Cody, Graham
"Gilda: Fear and Loathing of the Exquisite Object of Relentless Desire." (1998). Gender and Psychoanalysis, 3:301-330
UC users only

The Grifters

See Stephen Frears bibliography

Gun Crazy

Johnson, Gary.
"Gun Crazy" (10 Shades of Noir) Images, issue 2.

Kerr, Paul.
"My name is Joseph H. Lewis." Screen, 1983; 24: 48 - 67.
UC users only

Martin, Adrian.
"Violently Happy: Gun Crazy." Senses of Cinema 10: (no pagination). 2000 Nov.

Nevins, Francis M.
Joseph H. Lewis : overview, interview, and filmography / Francis M. Nevins. Lanham, Md. : The Scarecrow Press, 1998.
Main (Gardner) Stacks PN1998.3.L4683 N48 1998
PFA PN1998.3.L4683 N48 1998

Routt, William D.
"A Tribute to Joseph H. Lewis." Senses of Cinema, Issue No. 10, Nov 2000

Ruhmann, Lony.
"Gun Crazy, 'The Accomplishment of Many, Many Minds': An Interview with Joseph H. Lewis." The Velvet Light Trap, vol. 20. 1983 Summer. pp: 16-21
UC users only

Silva, Arturo.
"Gun Crazy: Cinematic Amour Fou." Film Criticism, Fall2008, Vol. 33 Issue 1, p1-24, 24p
UC users only

Shadoian, Jack.
"The Genre’s 'Enlightenment': The Stress and Strain for Affirmation: Gun Crazy (1949)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

Thompson, Rick J.
"Joseph H. Lewis." Senses of Cinema, vol. 10, pp. (no pagination), Nov 2000

High Sierra

Alley, Kenneth D.
"High Sierra: Swan Song for an Era." Journal of Popular Film 1976 5(3-4): 248-262.

Conley, Tom
"Decoding film noir: The killers, High sierra, and White heat." In: Film hieroglyphs: ruptures in classical cinema / Tom Conley. Minneapolis: University of Minnesota Press, c1991.
Full-text available online (UC Berkeley users only)
Main Stack PN1995.C63 1991)

Dinerstein, Joel.
"Emergent Noir": Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942). Journal of American Studies, Dec2008, Vol. 42 Issue 3, p415-448, 34p
UC users only

Georgakas, Dan.
"Ida Lupino: Doing It Her Way." Cineaste, vol. 25, no. 3, pp. 32-36, 2000
UC users only

Shadoian, Jack.
"Dark Transformation: The Descent into Film Noir: High Sierra (1941)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

Simons, John L.
"Henry on Bogie: Reality and Romance in 'Dream Song No. 9' and High Sierra." Literature-Film Quarterly, 1977, 5, 269-72.

Utley, Francis L.
"Onomastic Variety in the High Sierra." Names: Journal of the American Name Society, vol. 20, pp. 73-82, 1972

In a Lonely Place

See Nicholas Ray bibliography

The Killers (Robert Siodmak)

See Robert Siodmak bibliography

The Killers (Don Siegel)

p>
Bogdanovich, Peter.
"Don Siegel." In: Who the devil made it New York : Alfred A. Knopf : Distributed by Random House, 1997
Main Stack PN1995.9.P7.B58 1997;
Moffitt PN1995.9.P7.B58 1997

Booth, Philip.
"Hemingway's "The Killers" and Heroic Fatalism: From Page to Screen (Thrice)." Literature/Film Quarterly. 2007. Vol. 35, Iss. 1; p. 404 (8 pages)
UC users only

Harris, Oliver
"Killing 'The Killers': Hemingway, Hollywood, and Death." In: Visual media and the humanities : a pedagogy of representation / edited by Kecia Driver McBride. Edition 1st ed. Knoxville : University of Tennessee Press, c2004.
Main Stack AZ183.U5.V57 2004

Harris, Oliver. "Killing
"The Killers": Hemingway, Hollywood, and death.(Ernest Hemingway)(Critical Essay)." Essays and Studies 2005 (Annual 2005): 74(22).

Laurence, Frank M.
Hemingway and the movies / Frank M. Laurence. Jackson: University Press of Mississippi, c1981.
UCB Main PS3515.He55 .Z7426 1981
UCB Moffitt PS3515.E37 .Z689 1981

Leff, Leonard J.
Hemingway and his conspirators: Hollywood, Scribners, and the making of American celebrity culture / Leonard J. Leff. Lanham, Md.: Rowman & Littlefield, c1997.
UCB Main PS3515.E37 Z68935 1997
UCB Moffitt PS3515.E37 Z68935 1997

Lovell, Alan.
Don Siegel : American cinema London : British Film Institute, 1975.
MAIN: PN1998.A3 S542 1975
PFA : PN1998.3.S54 L69 1975

A Moving picture feast: a filmgoer's Hemingway
Edited by Charles M. Oliver. New York: Praeger, 1989.
UCB Main PS3515.E37 Z74321 198

Phillips, Gene D.
Hemingway and film / Gene D. Phillips. New York: F. Ungar Pub. Co., c1980. Series title: Ungar film library.
UCB Main PS3515.He55 .Z754
UCB Moffitt PS3515.E37 Z754

Sarris, Andrew.
"Don Siegel: The Pro." Film Comment. New York: Sep 1991. Vol. 27, Iss. 5; p. 34 (4 pages)
UC users only

Shadoian, Jack.
"Dark Transformation: The Descent into Film Noir: The Killers (1946)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

The Killing

Cossar, H.
"The revenge of the repressed: Homosexuality as other in The Killing." Quarterly Review of Film and Video, vol. 22, no. 2, pp. 145-154, 2005
UC users only
" White heterosexual obsession is well documented in film noir as a reaction to the alienation and cynicism resulting from the perceived collapse of the urban city and society as a whole. The author recognizes a repressed homosexual desire in Stanley Kubrick's The Killing (1956). The author identifies a "revenge of the repressed" present in the movie. If film noir's linchpin is that of alienation and fatalism in its protagonists' worlds, then the homosexuality present in the movie (to say nothing of the gambling, violence, and adultery) is the embodiment of Wood's monster. Furthermore, the author argues that the fatalistic results and violence that culminate in The Killing are a result of the protagonists' not acting upon their homosexual desires. In other words, if Wood views the horror film's repression of sexuality as the precursor for the depravity of the Monster, then the author posits just the opposite. The fact that The Killing's protagonists do not act upon their desires ultimately leads to their fall." [Communications Abstracts]

Darke, Chris and Tunney, Tom
"The Kubrick Connection." Sight & Sound, V/11, Nov 95; p.22-25,55.
Pierre-William Glenn discusses "The killing" as a model of film noir and how he used it in the preparation of his own film "23h58".

Thomson, David.
"Follow the Money." Film Comment, XXXI/4, July-Aug 95; p.20-25. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:iipa:&rft_dat=xri:iipa:article:citation:iipa00084862
On the role of money as a theme, a narrative device and a symbol in films such as "The last seduction", "Point blank", "The Brink's Job", "The Killing", "Indecent Proposal".

Telotte, J.P.
"Fatal Capers: Strategy and Enigma in Film Noir" Journal of Popular Film and Television, 1996 Winter V23 N4:163-170.
UC users only
The concept that the film noir genre is an effort at catharsis following the trauma that was World War II is disproved by its continuing proliferation. One change that has occurred is the 'caper film' category. This category portrays criminal activities involving an elaborate strategy that through an absurd cosmic twist turns it fatal. At the core is a concerted effort at an anti-social response to social institutions that dehumanize individuals, especially those at the periphery. Classic examples include 'The Asphalt Jungle,' 'The Killers,' 'Criss Cross,' 'Reservoir Dogs' and 'Pulp Fiction.'.

Kiss Me Deadly

SEE Robert Aldrich bibliology

L.A. Confidential

Alleva, Richard.
"City of Angels." (movie 'L.A. Confidential') Commonweal v124, n18 (Oct 24, 1997):18 (2 pages).

Ansen, David.
"The neo-noir '90s: 'L.A. Confidential' is one sign that this is a decade of danger, at least in our fantasies. It's stylish to be sultry and shady." Newsweek v130, n17 (Oct 27, 1997):68 (3 pages).

Arthur, Paul,
"L.A. confidential" (motion picture review) Cineaste v 23 no3 1998. p. 41-3
"A review of L.A. Confidential, directed by Curtis Hanson. Instead of relying on the usual suspects of what goes by the name of film noir in today's movie culture, the film revisits the early 1950s and two intertwined but often overlooked branches of that genre's family: the saga of the rogue cop and the expose of municipal corruption. With the requisite glut of senseless mayhem, it also insists on self-recognition and the grim reciprocity between personal and institutional practices of violence. Equally important, Los Angeles is used not simply as a setting but a mindset, an urban mythology embossed with the false promise of endless opportunity and filtered by the false projections of the Hollywood dream factory. The film is deadly serious about its historical background in film noir, and, although there are unmistakably conservative values embedded in its line of critique and a lack of overall thematic coherence, it is an ambitious agenda for a commercial action! movie by current standards." [Art Abstracts]

Blake, Richard A.
"L.A. Confidential." (movie reviews) America v177, n11 (Oct 18, 1997):22 (2 pages)

Cohen, Clelia
"L.A. confidential." (motion picture review) Cahiers du Cinema no517 Oct 1997. p. 72-3
"A review of L.A. Confidential, a film by Curtis Harrison. With discretion and finesse, this film evokes the Los Angeles of the 1950s, focusing on the lives of three cops who have very different preoccupations and working methods. Its explicit references to three films demonstrate its claim to be simultaneously a film noir, a love story, and a film about Hollywood. It is the latter that is most fascinating; while nothing or almost nothing is shown of the film industry proper, all the characters gravitate toward a world where everything is dictated and engendered by the "dream factory." The real subject of the film is thus the contamination by Hollywood." [Art Abstracts]

Denby, David.
"L.A. Confidential." (movie reviews) New York v30, n37 (Sept 29, 1997):50 (2 pages).

Hughes, Howard.
"'Off the record, on the QT and very hush-hush' - L.A.Confidential (1997)." In: Crime wave: the filmgoers' guide to the great crime movies / Howard Hughes. London ; New York : I.B. Tauris ; New York : Distributed by Palgrave Macmillan, 2006.
Full text available online [UCB users only]

Jefferson, Margo.
"Film (and song) noir when shadows are lighter; a genre known for its haunting women takes a different path." (problems with Kim Basinger's character in film, 'L.A. Confidential,' and with singer Carly Simon's... New York Times v147, n279 (Mon, Oct 6, 1997):B2(N), E2(L), col 3, 19 col in.

Klawans, Stuart.
"L.A. Confidential." (movie reviews) Nation v265, n11 (Oct 13, 1997):34 (2 pages).

Krohn, Bill
"Le film noir: aventures et mesaventures d'un genre." Cahiers du Cinema no524 May 1998. p. 8
"The writer compares two recent American films that explore the film noir genre: L.A. Confidential by Curtis Hanson and Dark City by Alex Proyas. He argues that, as an adaptation of James Ellroy's eponymous book, L.A. Confidential is an intelligent film, but he questions its status as film noir, arguing that the characters' psychology is limited to the point of being caricatural and that, as the only woman, Kim Basinger's character lacks credibility. Meanwhile, he notes, Dark City transcends the notion of a pastiche of the noir genre and mixes noir with elements of a visionary science-fiction film, achieving a splendid originality through a mix of styles, eras, and references." [Art Abstracts]

Lane, Anthony.
"L.A. Confidential." (movie reviews) New Yorker v73, n28 (Sept 22, 1997):141 (2 pages).

Luhr, William.
"Border crossings in Out of the Past and L.A. Confidential." Bilingual Review/La revista bilingue (Arizona State Univ. at Tempe) (23:3) 1998, 230-6. (1998)

Lyons, Donald.
"The bad and the beautiful: LA Confidential." Film Comment (33:6) 1997, 10-13, 15.

Lyons, Donald.
"L.A. Confidential." (movie reviews) Film Comment v33, n6 (Nov-Dec, 1997):10 (5 pages).

Maslin, Janet.
"L.A. Confidential." (movie reviews) New York Times v146, n262 (Fri, Sept 19, 1997):B1(N), E1(L), col 2, 23 col in.

McCarthy, Todd.
"L.A. Confidential." (movie reviews) Variety v367, n3 (May 19, 1997):48 (2 pages).

Rudolph, Eric
"Exposing Hollywood's sordid past." (filming L.A. Confidential) American Cinematographer v 78 Oct 1997. p. 46-8+
"The work of cinematographer Dante Spinotti on director Curtis Hanson's movie L.A. Confidential is examined. Based on James Ellroy's novel of ambition and corruption gone awry, this film noir, set in 1953, centers on three Los Angeles police detectives involved in a murder investigation. Hanson and Spinotti wished to avoid telling the story through a lens of nostalgia, choosing to foreground the action and emotion rather than the period. For the look of the film, which was shot in Super 35 using mostly 200 ASA 5293 stock, they were inspired by the work of still photographer Robert Frank, whose 1950s photographs were of the period yet had a contemporary look and feel. Spinotti thus composed each shot as if he were using a still camera." [Art Abstracts]

Shadoian, Jack.
"Focus on Feeling: 'Seeing' through the Fifties: Kiss Me Deadly (1955)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

Shargel, Raphael.
"L.A. Confidential." (movie reviews) New Leader v80, n16 (Oct 6, 1997):18 (2 pages).

Shefrin, Elana
"Le Noir et le Blanc: Hybrid Myths in Devil in a Blue Dress and L.A. Confidential." Literature/Film Quarterly. 2005. Vol. 33, Iss. 3; p. 172 (10 pages)
UC users only

Simon, John.
"L.A. Confidential." (movie reviews) National Review v49, n20 (Oct 27, 1997):56 (2 pages).

Taubin, Amy.
"L.A. Lurid." (interview of Curtis Hanson, director of the motion picture L.A. Confidential) Sight and Sound v8, n11 (Nov, 1997):6 (4 pages).

Travers, Peter.
"L.A. Confidential." (movie reviews) Rolling Stone, n770 (Oct 2, 1997):59 (2 pages).

Weinraub, Bernard.
"Between image and reality in Los Angeles: there was nothing easy about adapting James Ellroy's novel 'L.A. Confidential.'" New York Times v146, sec2 (Sun, Sept 7, 1997):H52(N), H52(L), col 5, 45 col in.

Wrathall, John.
"L.A. Confidential." (movie reviews) Sight and Sound v8, n11 (Nov, 1997):45 (2 pages).

Lady From Shanghai

See Orson Welles bibliography

Laura

Babener, Liahna.
"De-Feminizing Laura: Novel to Film." In: It's a Print!: Detective Fiction from Page to Screen / edited by William Reynolds, Elizabeth A. Trembley. pp: 83-102. Bowling Green, OH: Bowling Green State University Popular Press, c1994.
Main Stack PN1995.3.R4 1994

Brook, Vincent.
"The ABZs of Film Noir: Otto Preminger and Edgar G. Ulmer." In: Driven to darkness : Jewish émigré directors and the rise of film noir / Vincent Brook. New Brunswick, N.J. : Rutgers University Press, c2009.
Main (Gardner) Stacks PN1995.9.F54 B76 2009

McNamara, Eugene.
"Laura" as novel, film, and myth / Eugene McNamara. Lewiston [N.Y.]: Edwin Mellen Press, c1992.
UCB Main PN1997.L3473 M38 1992

McNamara, Eugene.
"Preminger's Laura and the Fatal Woman Tradition." Clues: A Journal of Detection, vol. 3 no. 2. 1982 Fall-Winter. pp: 24-29.

Phillips, Gene D.
"Otto Preminger: Laura and Anatomy of a murder." In: Out of the shadows : expanding the canon of classic film noir / Gene D. Phillips. Lanham : Scarecrow Press, Inc., 2012. \
Main (Gardner) Stacks PN1995.9.F54 P475 2012

Smith, Imogen Sara.
"Dana Andrews: The Forties Hero and His Shadow." Bright Lights Film Journal, November 2008 | Issue 62

Telotte, J.P.
"The Big Clock of Film Noir." Film Criticism, XIV/2, Winter 89-90; p.1-11.
Analyses the place of film noir in the emergence of modernist film narrative, highlighting time-conscious films "The Big Clock", "Laura" and "Kiss me Deadly".

The Long Goodbye

See Robert Altman bibliography

Lost Highway

See David Lynch bibliography

Maltese Falcon

See John Huston Bibliography

Mildred Pierce

Biesen, Sheri Chinen
"Catherine Turney, Jerry Wald and Mildred Pierce." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Boozer, Jack, Jr.
"Entrepreneurs and 'Family Values' in the Postwar Film." In: Authority and Transgression in Literature and Film / edited by Bonnie Braendlin and Hans Braendlin. pp: 89-102 Gainesville; University Press of Florida, c1996.
Main Stack PN56.A87.A87 1996

Bordwell, David
"Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce." Journal of Dramatic Theory and Criticism Vol. VI, No. 2: Spring 1992

Campbell, D. M.
"Taking tips and losing class: challenging the service economy in James M. Cain's Mildred Pierce." In: The novel and the American left : critical essays on depression-era fiction / edited by Janet Galligani Casey. Iowa City : University of Iowa Press, c2004.
Main Stack PS228.C6.N68 2004

Cook, Pam. "Duplicity in Mildred Pierce."
In: Screening the past : memory and nostalgia in cinema / London ; New York : Routledge, 2005.
MAIN: PN1995.9.N67 C66 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0416/2004006798.html

Cook, Pam. "Duplicity in Mildred Pierce."
In: Women in Film Noir. Edited by E. Ann Kaplan. pp: 68-82. Rev. ed. London: BFI Publishing, 1980.
Main Stack PN1995.9.W6.W66 1980
Moffitt PN1995.9.W6.W66 1980

Corber, Robert J.
"Joan Crawford's Padded Shoulders: Female Masculinity in Mildred Pierce." Camera Obscura. 2006. p. 1
UC users only

Davis, John.
"The Tragedy of Mildred Pierce." Velvet Light Trap: A Critical Journal of Film & Television, Fall72 Issue 6, p27-30, 4p

Garrett, Greg.
"The Many Faces of Mildred Pierce: A Case Study of Adaptation and the Studio System." Literature/ Film Quarterly, vol. 23 no. 4. 1995. pp: 287-92.
UC users only

Gorbman, Claudia.
"The Drama's Melos: Max Steiner and Mildred Pierce." Velvet Light Trap: A Critical Journal of Film & Television, Summer82 Issue 19, p35-39, 5p

Haralovich, Mary Beth.
" Adapting the Family to Murder: Mildred Pierce." In: A family affair : cinema calls home / edited by Murray Pomerance. London ; New York : Wallflower, 2008.
Main (Gardner) Stacks PN1995.9.F35 F36 2008

Haralovich, Mary Beth.
"Too much guilt is never enough for working mothers: Joan Crawford, "Mildred Pierce," and "Mommie Dearest."." Velvet Light Trap: A Critical Journal of Film & Television, Spring 1992, Issue 29, p43-52, 10p
UC users only

Hollinger, Karen
"Listening to the female voice in the woman's film." Film Criticism; 1992, Vol. 16 Issue 3, p34-52, 19p

Jurca, Catherine
""Mildred Pierce", Warner Bros., and the Corporate Family." Representations No. 77 (Winter, 2002), pp. 30-51
UC users only

Jurca, Catherine
"Mildred Pierce's interiors." In: White diaspora : the suburb and the twentieth-century American novel / Catherine Jurca. Princeton, N.J. : Princeton University Press, c2001.
Main Stack PS374.S82.J87 2001

Lavalley, Albert J.
"Mildred Pierce: A Troublesome Property to Script." In: Authorship in film adaptation / edited and with an introduction by Jack Boozer. Austin : University of Texas Press, 2008.
Main (Gardner) Stacks PN1997.85 .A92 2008

Leibman, Nina C.
"Piercing the Truth: Mildred and Patriarchy." Literature in Performance, vol. 8 no. 1. 1988 Nov. pp: 39-52.

Lloyd, Justine; Johnson, Lesley
"The Three Faces of Eve: The Post-war Housewife, Melodrama, and Home." Feminist Media Studies; Mar2003, Vol. 3 Issue 1, p7, 19p
Compares 'Mildred Pierce' and 'The Three Faces of Eve,' two post-World War II films that feature housewives as main characters. Representations of women at home in Hollywood films of the 1940s and 1950s; Definitions of melodrama; Realization of female identity outside the world of work; Transformations in the figure of the housewife that occurred during this period.

McHugh, K. A.
"The labor of maternal melodramas: converting angels to icons." In: American domesticity : from how-to manual to Hollywood melodrama / Kathleen Anne McHugh. New York : Oxford University Press, 1999.
Main Stack PN1995.9.W6.M38 199

"Mildred Pierce." The Nation v. 161 (October 13 1945) p. 385

"Mildred Pierce." The New Republic v. 113 (October 22 1945) p. 528

"Mildred Pierce." The New Yorker v. 21 (October 6 1945) p. 9

"Mildred Pierce." Time v. 46 (October 22 1945) p. 100

Rivera, Adriana.
"The Ideological Function of Genres in Mildred Pierce." Imagenes, vol. 3 no. 1. 1987. pp: 16-18.

Robertson. Pamela
"Structural Irony in "Mildred Pierce," or How Mildred Lost Her Tongue." Cinema Journal > Vol. 30, No. 1 (Autumn, 1990), pp. 42-54
UC users only

Scheman, Naomi.
"Missing mothers/desiring daughters: framing the sight of women." Critical Inquiry, 1988, Vol. 15 Issue 1, p62-89, 28p;
UC users only

Sirkin, E.
"Mildred Pierce meets The bad seed." Film Comment v. 15 (March 1979) p. 67-9

Sochen, June
"Mildred Pierce and Women in Film." American Quarterly Vol. 30, No. 1 (Spring, 1978), pp. 3-20
UC users only

Straughn, Victoria
"Hollywood "takes" on domestic subversion: The role of women in Cold War America." Magazine of History. Jan 2003. Vol. 17, Iss. 2; p. 31 (3 pages)

Weiss, Julie.
"Feminist Film Theory and Women's History: Mildred Pierce and the Twentieth Century." Film & History Sep1992, Vol. 22 Issue 3, p74-87, 14p
UC users only

Welsh, J. M.
"Mildred Pierce Reshaped." Literature/Film Quarterly. 1983. Vol. 11, Iss. 1; p. 66 (3 pages)
UC users only

Williams, Linda.
"Feminist Film Theory: Mildred Pierce and the Second World War." In: Female Spectators: Looking at Film and Television. London / edited by E. Deidre Pribram. pp: 12-30. London; New York: Verso, 1988. Questions for feminism.
Main Stack PN1995.9.W6.F44 1988
Moffitt PN1995.9.W6.F44 1988

Murder My Sweet

Abbott, Megan E.
"'Nothing You Can't Fix': Screening Marlowe's Masculinity." Studies in the Novel, Fall2003, Vol. 35 Issue 3, p305-324, 20p
UC users only

Athanasourelis, John Pau'Studies in the Novel; Fall2003, Vol. 35 Issue 3, p325-338, 14p
UC users only
Discusses the relationship between the novels by author Raymond Chandler and Hollywood films of the Production Code era adapted from them. Information on the censorship of the film adaptation of the novels; Features of Chandler's novels; Details on the film "Murder, My Sweet" and the film version of book "The Big Sleep."

Biesen, Sheri Chinen
"Adapting Chandler: RKO's Murder, My Sweet." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Jancovich, Mark.
"'Thrills and chills': horror, the woman's film, and the origins of film noir." New Review of Film & Television Studies, Jun2009, Vol. 7 Issue 2, p157-171, 15p
UC users only

Shillock, Larry T.
"Neither Noir." West Virginia University Philological Papers. 47:44-55. 2001

Telotte, J. P.
"Effacement and Subjectivity: Murder My Sweet's Problematic Vision." Literature/ Film Quarterly, vol. 15 no. 4. 1987. pp: 227-236.
UC users only

Trachtenberg, Alan
"The Modernist City of Film Noir: The Case of Murder, My Sweet." In: American Modernism Across the Arts/ edited by Jay Bochner and Justin D. Edwards. pp: 284-302 New York: Peter Lang, c1999.
UCB Main NX504 .A545 1999

Naked City

Higashi, Sumiko
"The American origins of film noir : realism in urban art and The naked city." In: Looking past the screen : case studies in American film history and method / edited by Jon Lewis and Eric Smoodin. Durham : Duke University Press, 2007.
Main Stack PN1993.5.U6.L58 2007

Horton, Andrew.
"Jules Dassin: A Multi-National Filmmaker Considered." Film Criticism, Spring84, Vol. 8 Issue 3, p21-35, 15p;
UC users only

Kozloff, Sarah.
"Humanizing 'The Voice of God': Narration in The Naked City." Cinema Journal, vol. 23 no. 4. 1984 Summer. pp: 41-53.UC users only
UC users only

Kozloff, Sarah.
"Humanizing 'The Voice of God': Narration in The Naked City." In: Invisible storytellers : voice-over narration in American fiction film / Sarah Kozloff. Berkeley : University of California Press, c1988.
Main (Gardner) Stacks PN1995 .K691 1988
Pacific Film Archive PN1995 .K691 1988

McGilligan, Patrick.
"I'll always be an American: Jules Dassin interviewed." Film Comment. Nov/Dec 1996. Vol. 32, Iss. 6; p. 34 (15 pages)UC users only
UC users only

Neve, Brian.
"Jules Dassin and Albert Maltz." In: Film and politics in America : a social tradition London ; New York : Routledge, 1992. pp. 115-118
MAIN: PN1995.9.S6 N46 1992
MOFF: PN1995.9.S6 N46 1992

Prime, Rebecca.
"Cloaked in compromise : Jules Dassin's "naked" city." In: "Un-American" Hollywood : politics and film in the blacklist era / edited by Frank Krutnik ... [et al.]. New Brunswick, N.J. : Rutgers University Press, c2007.
Main (Gardner) Stacks PN1995.9.P6 U5 2007
Full text available online

Wald, Malvin.
The Naked City: A Screenplay / by Malvin Wald and Albert Maltz; story by Malvin Wald; edited by Matthew J. Bruccoli; afterword by Malvin Wald. Carbondale : Southern Illinois University Press, [1979] c1948.
Main Stack PN1997 .N324

Out of the Past

Auerbach, Jonathan
"North from Mexico : Border incident, Hold back the dawn, Secret beyond the door, and Out of the past." In: Dark borders : film noir and American citizenship / Jonathan Auerbach. Durham [N.C.] : Duke University Press, 2011.
Main (Gardner) Stacks PN1995.9.F54 A947 2011

"Daniel Mainwaring Discusses 'Out of the Past'." Velvet Light Trap, Fall 1973 , vol 10: pp: 44+

Deutelbaum, Marshall.
"'The Birth of Venus' and the Death of Romantic Love in Out of the Past." Literature/ Film Quarterly, vol. 15 no. 3. 1987. pp: 190-197.

Duncan, Paul
"Out of the Past." In: Film Noir Pocket Essentials, 2000.
Full-text of this book available online[UC Berkeley users only]

Harvey, John.
"Out of the Light: An Analysis of Narrative in Out of the Past." Journal of American Studies, vol. 18 no. 1. 1984 Apr. pp: 73-87.

Jarvie, Ian A.
"Knowledge, Morality, and Tragedy in The Killers and Out of the Past ." In: The philosophy of film noir Edited by Mark T. Conard ; foreword by Robert Porfirio. Lexington : University Press of Kentucky, c2006.
Full-text available online (UC Berkeley users only)
Main Stack PN1995.9.F54.P55 2006

Jones, Kent.
"Out of the Past." (review) The Village Voice, Mar 4, 1997 vol. 42. pp: 65+

Grist, Leighton
"Out of the past a.k.a. build my gallows high." In: The Book of film noir / edited by Ian Cameron. Place/Publisher New York : Continuum, c1993.
Moffitt PN1995.9.F54.B66 1993
PFA : PN1995.9.F54 M68 1992

Jarvie, Ian.
"Knowledge, Morality, and Tragedy in The Killers and Out of the Past." In: The philosophy of film noir Edited by Mark T. Conard ; foreword by Robert Porfirio. Lexington : University Press of Kentucky, c2006.
Main Stack PN1995.9.F54.P55 2006

Luhr, William.
"Border crossings in Out of the Past and L.A. Confidential." Bilingual Review/La revista bilingue (Arizona State Univ. at Tempe) (23:3) 1998, 230-6. (1998)

Maxfield, James F.
"Out of the Past: The Private Eye as Tragic Hero." New Orleans Review, vol. 19 no. 3-4. 1992 Fall-Winter. pp: 69-75.

Mills, Michael.
"Out of the Past: Jacques Tourneur's Classic Film Noir" (from: Modern Times web site)

Orr, Christopher.
"Genre Theory in the Context of the Noir and Post-noir Film." Film Criticism v22, n1 (Fall, 1997):21 (17 pages).
Erotic crime drama, first filmed in the 1940s, is a sub-genre of film noir and influenced films for the next four decades. Sexual desire is central to this sub-genre, with the blockage of that desire resolved within or outside of the law. 'Out of the Past' described a social crisis and constituted a critique of that crisis, while 'Angel Face' and 'Out of the Past - Against All Odds' dealt with the same issues but drifted into melodrama.

Part of a special issue on film genres. The writer discusses genre theory in the context of film noir and post-noir film. He illustrates the difficulties encountered in attempting to apply a generic category or categories to films now seen as film noir by focusing on noir films with particularly similar narrative structures--Out of the Past by Jacques Tourneur (1947) and Angel Face by Otto Preminger (1952)--as well as on Taylor Hackford's remake of Out of the Past--Against All Odds (1984), which was influenced by the noir tradition. He argues that, although all three films fall into the femme fatale narrative type, where the male protagonist is the victim of his desires, Angel Face and Against All Odds drift beyond this category into the generic field of melodrama. Focusing on these films' texts, he goes on to discuss the differences between them as subgenres of the crime film.

Morris, Gary.
"Out of the Past: A noir classic revisited." Bright Lights, July 2000 | Issue 29

Orr, Christopher.
"Genre Theory in the Context of the Noir and Post-noir Film." Film Criticism v22, n1 (Fall, 1997):21 (17 pages).
UC users only
Erotic crime drama, first filmed in the 1940s, is a sub-genre of film noir and influenced films for the next four decades. Sexual desire is central to this sub-genre, with the blockage of that desire resolved within or outside of the law. 'Out of the Past' described a social crisis and constituted a critique of that crisis, while 'Angel Face' and 'Out of the Past - Against All Odds' dealt with the same issues but drifted into melodrama.

Part of a special issue on film genres. The writer discusses genre theory in the context of film noir and post-noir film. He illustrates the difficulties encountered in attempting to apply a generic category or categories to films now seen as film noir by focusing on noir films with particularly similar narrative structures--Out of the Past by Jacques Tourneur (1947) and Angel Face by Otto Preminger (1952)--as well as on Taylor Hackford's remake of Out of the Past--Against All Odds (1984), which was influenced by the noir tradition. He argues that, although all three films fall into the femme fatale narrative type, where the male protagonist is the victim of his desires, Angel Face and Against All Odds drift beyond this category into the generic field of melodrama. Focusing on these films' texts, he goes on to discuss the differences between them as subgenres of the crime film.

Palmer, S. Barton
"'Lounge Time' Reconsidered: Spatial Discontinuity and Temporal Contingency in 'Out of the Past'." In: Film noir reader 4
Edited by Alain Silver and James Ursini. 1st limelight ed. [Pompton Plains] N.J.: Limelight Editions; [Milwauke, Wisc.]: Distributed by Hal Leonard, 2004.
Table of contents http://www.loc.gov/catdir/toc/ecip0414/2004002792.html
MAIN: PN1995.9.F54 F64 2004
Moffitt PN1995.9.F54.F64 2004

Schwager, Jeff
"The Past rewritten." (a close look at who did what on a classic film noir screenplay) Film Comment v 27 Jan/Feb 1991. p. 12-17
UC users only
"The screenplay for director Jacques Tourneur's classic Out of the Past (1947) was worked on by three different writers before reaching its final form. Daniel Mainwaring, who wrote the film's source novel under the pseudonym Geoffrey Homes, was the first to complete a draft of the screenplay. His draft sticks closely to the novel, maintaining the cliched toughness of its tone. James M. Cain, called in to rewrite Mainwaring's version, added several plot elements and a happy ending, all of which were discarded. Cain's second draft introduced the two-part structure that the film would ultimately employ--the first part consisting of a flashback about the hero's past and the second part continuing in the present. The final draft was by Frank Fenton, who contributed most of the film's best dialogue and many key plot elements and who rounded out the characters. Unfortunately, Fenton received no screen credit for his excellent work." [Art Abstracts]

Telotte, J. P.
"The Woman in the Door: Framing Presence in Film Noir." In: In the Eye of the Beholder: Critical Perspectives in Popular Film and Television / edited by Gary R. Edgerton, Michael T. Marsden, and Jack Nachbar. pp: 137-48. Bowling Green, OH: Bowling Green State University Popular Press, c1997.
UCB Main PN1995 .I565 1997
UCB Moffitt PN1995 .I565 1997

Warren, Denise.
"Out of the Past: Semiotic Configurations of the Femme Fatale in Film Noir." Interdisciplinary Journal for Germanic Linguistics and Semiotic Analysis vol. 2 no. 2. 1997 Fall. pp: 221-55.

Wittenberg, Judith Bryant.
"The 'Strange World' of Blue Velvet: Conventions, Subversions and the Representation of Women." In: Sexual Politics and Popular Culture / edited by Diane Raymond. pp: 149-57 Bowling Green, Ohio: Bowling Green State University Popular Press, c1990.
Educ/Psych HQ1233.S49 1990
Main Stack HQ1233.S49 1990

Palmetto

Denby, David.
"Palmetto." (movie reviews) New York v31, n9 (March 9, 1998):49 (1 page).

Holden, Stephen.
"Neo-noir's a fashion that fits only a few." (a look at films 'Twilight,' 'Palmetto' and 'The Big Lebowski') New York Times v147, sec2 (Sun, March 8, 1998):AR15(N), AR15(L), col 1, 38 col in.

Holden, Stephen.
"Palmetto." (movie reviews) New York Times v147 (Fri, Feb 20, 1998):B14(N), E14(L), col 4, 17 col in.

Harvey, Dennis.
"Palmetto." (movie reviews) Variety v370, n1 (Feb 16, 1998):57 (2 pages).

Hunter, Stephen.
"From Pulp to a Soggy Mess: Palmetto is Noir with all of the Confusion but None of the Fun." Washington Post (Feb 20, 1998):B06.

Turbide, Diane.
"Palmetto." (movie reviews) Maclean's v111, n9 (March 2, 1998):N12 (1 page).

Pick Up on South Street

Auerbach, Jonathan
"Bad boy patriots : This gun for hire, Ride the pink horse, and Pickup on South Street." In: Dark borders : film noir and American citizenship / Jonathan Auerbach. Durham [N.C.] : Duke University Press, 2011.
Main (Gardner) Stacks PN1995.9.F54 A947 2011

Fuller, Samuel.
A Third face : my tale of writing, fighting and filmmaking / Samuel Fuller with Christa Lang Fuller and Jerome Henry Rude. New York : Alfred A. Knopf : Distributed by Random House, 2002.
Main Stack PN1998.3.F85.A3 2002

Garnham, Nicholas.
Samuel Fuller. New York, Viking Press [1972, c1971]
MAIN: PN1993 .C45 v.15 [another edition]
MOFF: PN1998.A3 F843 1972)

Gordon, Marsha.
"What makes a girl who looks like that get mixed up in science?": gender in Sam Fuller's films of the 1950s." Quarterly Review of Film and Video v. 17 no. 1 (2000) p. 1-17

Hardy, Phil.
Samuel Fuller. [New York] Praeger [1970]
MAIN: PN1998.A3F845 H3
MOFF: PN1998 A3 F845)

Kennedy, Matthew.
"On Commies, Stoolies, and Other Assorted Lowlifes." Bright Lights, May 2004 | Issue 44

Sanjek, David.
"'Torment Street between Malicious and Crude': Sophisticated Primitivism in the Films of Samuel Fuller." Literature/ Film Quarterly, vol. 22 no. 3. 1994. pp: 187-94.

Server, Lee.
Sam Fuller : film is a battleground : a critical study, with interviews, a filmography, and a bibliography Jefferson, N.C. : McFarland, c1994.
MAIN: PN1998.3.F85 S47 1994

Shadoian, Jack.
"Focus on Feeling: 'Seeing' through the Fifties: Pick Up on South Street (1953)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.G3 S5 2003
Moffitt PN1995.9.G3 S5 2003
Pacific Film Archive PN1995.9.G3 S5 2003

Thompson, Rick J.
"Pickup on South Street" Senses of Cinema , issue 8. July/Aug 2000

Tracey, Grant.
"Pickup on South Street" (10 Shades of Noir) Images, issue 2.

The Postman Always Rings Twice

Biesen, Sheri Chinen
"Raising Cain with the Censors, Again: The Postman Always Rings Twice(1946)." Literature-Film-Quarterly, 2000, 28:1, 41-48.
UCB users only
The author examines censorship in Hollywood and the development of Film noir. Topics include motion picture industry, film marketing, and culture changes.

Biesen, Sheri Chinen
"Censorship, 'Red Meat' and The Postman Always Rings Twice." In: Blackout : World War II and the origins of film noir Published: Baltimore : Johns Hopkins University Press, 2005.
MAIN: PN1995.9.F54 B53 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001866.html

Della Coletta, Cristina
""Fear death by water": The postman always rings twice and the frauds of memory." In: When stories travel : cross-cultural encounters between fiction and film / Cristina Della Coletta. Baltimore, Md. : Johns Hopkins University Press, 2012.
Main (Gardner) Stacks New books PN1997.85 .C65 2012

Jenkins, Steve
"James M Cain and Film Noir." Screen 1982 23: 80-82
UC users only

Frank Krutnik
"Desire, Transgression and James M Cain." Screen 1982 23: 31-44
UC users only

Orr, Christopher
"Cain, naturalism and noir." Film Criticism v. 25 no. 1 (Fall 2000) p. 47-64
UC users only
"The writer examines film noir and "hard-boiled" fiction as an expression of specific developments within the naturalist tradition, focusing on film adaptations of James M. Cain's novels The Postman Always Rings Twice and Double Indemnity, and on American remakes and adaptations of them. These novels, he explains, are based on a causal relationship between sexual desire and criminal activity, a formula that has been popular with naturalist writers since Emile Zola. He goes on to discuss Tay Garnett's 1946 adaptation of Postman, Bob Rafelson's 1981 adaptation of the same novel, Billy Wilder's 1944 adaptation of Double Indemnity, and Lawrence Kasdan's 1981 remake of it, Body Heat, exploring the degree to which they signal either transformations in naturalism or a move away from this tradition. He concludes that the naturalist tradition has all but disappeared from the erotic crime film, a subgenre that once offered an essential critique of the American dream." [Art Index]

Porfirio, Robert G.
"Whatever Happened to the Film Noir? The Postman Always Rings Twice (1946-1981)" Literature/ Film Quarterly, vol. 13 no. 2. 1985. pp: 102-111.

Pulp Fiction

See Quentin Tarantino bibliography

Reckless Moment

See Max Ophüls bibliography

Scarlet Street

See separate Lang bibliography

Touch of Evil

See Orson Welles bibliography

The Usual Suspects

Crisp, Quentin.
"The Usual Suspects." (movie reviews) Christopher Street, n229 (Sept, 1995):6 (3 pages).

Denby, David.
"The Usual Suspects." (movie reviews) New York v28, n34 (August 28, 1995):118 (2 pages).

Francke, Lizzie.
"The Usual Suspects." (movie reviews) New Statesman & Society v8, n367 (August 25, 1995):29 (1 page).

Fried, John
"The Usual Suspects." Cineaste v 22 no2 1996. p. 53-4
"A review of the video release of The Usual Suspects, a film by Bryan Singer. The film, which concerns a gang of five criminals, is essentially a flashback after four of the five have supposedly been killed in a grand heist. Unlike recent film noir remakes and dark thrillers that center on the gangsters' casual coolness, this film focuses more on the conventions of the genre. However, the film relies too much on the willingness of the audience to fall for gimmicks and extended red herrings, and Singer's suspects are merely empty parodies of classic film noir heroes and villains." [Art Abstracts]

James, Caryn.
"The Usual Suspects." (movie reviews) New York Times v144 (Fri, Sept 1, 1995):C8(L), col 5, 12 col in.

Kemp, Philip.
"The Usual Suspects." (movie reviews) Sight and Sound v5, n9 (Sept, 1995):61 (1 page).

Kroll, Jack.
"The Usual Suspects." (movie reviews) Newsweek v126, n9 (August 28, 1995):58 (1 page).

Lane, Anthony.
"The Usual Suspects." (movie reviews) New Yorker v71, n24 (August 14, 1995):85 (3 pages).

Maslin, Janet.
"The Usual Suspects." (movie reviews) New York Times v144 (Wed, August 16, 1995):B3(N), C15(L), col 1, 15 col in.

McCarthy, Todd.
"The Usual Suspects." (movie reviews)s) Variety v357, n13 (Jan 30, 1995):46 (1 page).

Oliver, Kelly.
"The Borderlands of Touch of Evil." In: Noir anxiety / Kelly Oliver, Benigno Trigo. Minneapolis : University of Minnesota Press, c2003.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.F54 O44 2003)

Orr, Stanley.
"Postmodernism, Noir, and The Usual Suspects." Literature/ Film Quarterly vol. 27 no. 1. 1999. pp: 65-73.
UCB users only
"Literary critic Slavoj Zizek felt the film noir genre reached its peak when it fused with the detective genre. The movie 'The Usual Suspects' both evokes and undermines the modernist epistemology particular to film noir. The alienation characteristic of the film noir hero was exposed by Jean Baudrillard as an illusion." [Expanded Academic Index]

Telotte, J.P.
"Rounding up The Usual Suspects: The Comforts of Character and Neo-Noir." (a look at the unconventional neo-noir film 'The Usual Suspects') Film Quarterly v51, n4 (Summer, 1998):12 (9 pages).
'The Usual Suspects,' a so-called 'neo-noir' film, makes itsimpact by subverting the ordinary course of classical narrative in motion pictures. It accomplishes this by its use of unconventional and complex characters that defy predictability. The criticism of critics David Bordwell, W.R. Robinson and Vivian Sobchack is explored." [Expanded Academic Index]

"Bryan Singer's The Usual Suspects challenges classic norms of cinema, particularly the impact of character in the neo-noir. The film begins with a mystery that totally relies on the film's conception of character, which is a set of reactions that contradicts the audience's anticipation of narrative conservatism and undermines one sort of pleasure or comfort that the audience has come to expect from films. Instead, the movie offers a very different interpretation of character, one that reinforces the very real nature of character that truly represents the current era's noir." [Art Abstracts]

Travers, Peter.
"The Usual Suspects." (movie reviews) Rolling Stone, n716 (Sept 7, 1995):75 (2 pages).

Williams, David E.
"Unusual Suspects." (feature on Singer and cameraman Newton Thomas Sigel's partnership). American Cinematographer, July 2000.

British Film Noir

Dixon, Wheeler W.
The charm of evil : the life and films of Terence Fisher Metuchen, N.J. : Scarecrow Press, 1991.
MAIN: PN1998.3.F58 D5 1991

European film noir
Edited by Andrew Spicer. Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2007
Main Stack PN1995.9.F54.E87 2007

Everson, William K.
"British Film Noir." Films in Review, 38:5 (May 1987), pp: 285+; 38 (June/July 1985), pp: 340+

Everson, William K.
"British Film Noir II." Films in Review 38:6/7 (1987:June/July) 340

Hutchings, Peter.
Terence Fisher Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the U.S.A. by Palgrave, 2001.
PFA : PN1998.3.F535 H88 2001

Miller, Laurence.
"Evidence for a British film noir cycle." In: Re-viewing British cinema, 1900-1992 : essays and interviews / edited by Wheeler Winston Dixon. Albany : State University of New York Press, c1994.
Main PN1993.5.G7.R4 1994

Neame, Christopher.
Rungs on a ladder: Hammer Films seen through a soft gauze Lanham, Md. : Scarecrow Press, 2003.
MAIN: PN1999.H3 N43 2003

Spicer, Andrew.
"Creativity and the "B" Feature: Terence Fisher's Crime Films." Film Criticism v. 30 no. 2 (Winter 2005/2006) p. 24-42 UC users only

Spicer, Andrew.
"British Film Noir" In: Film noir Harlow, England; New York: Longman/Pearson Education, 2002.
MAIN: PN1995.9.F54 S68 2002

White Heat

Conley, Tom
"Decoding film noir: The killers, High sierra, and White heat." In: Film hieroglyphs: ruptures in classical cinema / Tom Conley. pp: p. 20-45 Minneapolis: University of Minnesota Press, c1991.
Full-text available online (UC Berkeley users only)
Main Stack PN1995.C63 1991

Douglass, Wayne J.
"The Criminal Psychopath as Hollywood Hero." Journal of Popular Film & Television, Winter81, Vol. 8 Issue 4, p30-39, 10p
UC users only

Fischer, Lucy.
"Mama's Boy: Filial Hysteria in White Heat." In: Screening the Male: Exploring Masculinities in Hollywood Cinema / edited by Steven Cohan and Ina Rae Hark. pp: 70-83. London; New York: Routledge, c1993.
Main Stack PN1995.9.M46.S36 1993
Moffitt PN1995.9.M46.S36 1993)

"'Made it Ma! Top of the world!' - White Heat (1949)." In: Crime wave: the filmgoers' guide to the great crime movies / Howard Hughes. London ; New York : I.B. Tauris ; New York : Distributed by Palgrave Macmillan, 2006.

Full text available online [UCB users only])
Shadoian, Jack. "Going Gray and Going Crazy: Disequilibrium and Change at Midcentury: White Heat (1949)." In: Dreams & dead ends : the American gangster film / Jack Shadoian. Oxford ; New York : Oxford University Press, 2003. (Full-text available online (UC Berkeley users only): Print Main (Gardner) Stacks; Moffitt; PFA PN1995.9.G3 S5 2003)

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