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

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. Video/C 3715

Books

Abbott, Megan E.

The street was mine: white masculinity in hardboiled fiction and film noir New York: Palgrave Macmillan, 2002.

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.

Main Stack 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

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

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.

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

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.

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

"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.

Main Stack PN1995.C63 1991

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

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

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

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

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

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 /

New York: [Great Britain]: Limelight Editions, 2002.

MAIN: PN1995.9.F54 F573 2002

Film noir reader 3: interviews with filmmakers of the classic noir period

Edited by Robert Porfirio, Alain Silver and James Ursini. New York: Limelight; Lancaster: Gazelle, 2001.

Main Stack PN1995.9.F54.F573 2001

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.

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.

Environ Dsgn TA1023.F68 2006

Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006008602.html

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

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]

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

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

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

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

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

Irwin, John T.

Unless the threat of death is behind them : hard-boiled fiction and film noir. Baltimore : Johns Hopkins University Press, 2006.

MAIN: PS374.D4 I78 2006

Table of contents: http://www.loc.gov/catdir/toc/ecip0610/2006008094.html

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.

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

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

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.

Main Stack PN1995.9.E96.L43 1999

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

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 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

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

Mayer, Geoff.

Encyclopedia of film noir Westport, Conn. : Greenwood Press, 2007.

Media Resources Center PN1995.9.F54 M39 2007

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

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

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. Berkeley: University of California Press, c1998.

UC users only

UCB Main PN1995.9.F54 N37 1998

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

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

Oliver, Kelly

Noir anxiety Minneapolis: University of Minnesota Press, c2003.

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

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

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

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

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 -- Carniv?ale 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.

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

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).

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.

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.

BANC: \pf\ PN1995.9.F54 S57 2005

PFA : PN1995.9.F54 S57 2005; View current status of this item

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

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

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

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.

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.

"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

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.

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

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

"Los Angeles as scene of the crime." Film Comment v 32 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

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

Borde, Raymond and Chaumeton, Etienne 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).

"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 v30 i1 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

Castle, Robert

"Better Off Dead: The Heroic Ideal in Film Noir." 24 Frames Per Second

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

"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]

Davidson, Michael

"Phantom Limbs: Film Noir and the Disabled Body." GLQ: A Journal of Lesbian and Gay Studies 9, no. 1 (2003): 57-77

UC users only

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."

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

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.

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.

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

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

"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

"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

UC users only

Fluck, Winfried.

"Crime, Guilt, And Subjectivity In Film Noir." Amerikastudien [Germany] 2001 46(3): 379-408.

" 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]

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.

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]

Hankoff, Peter

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

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

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

"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

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]

Lang, Robert

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

Leibman, Nina C.

"The Family Spree of Film Noir." Journal of Popular Film and Television v16, n4 (Wntr, 1989):168 (17 pages).

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, vol. 16 no. 4. 1989 Winter. pp: 168-184.

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.

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

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.

"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

UC users only

"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).

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.

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 Sprint, 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

"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).

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).

"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]

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

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

Schickel, Richard.

"Rerunning film noir: as Americans embraced the future after World War II, they entertained themselves with cinematic visions of mean streets and sordid pasts. The tale of film noir's rise and fall has a few twists of its own." The Wilson Quarterly 31.3 (Summer 2007): 36(8).

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

Reviews and Articles About
Individual Films in the MRC Collection

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)

"Alan Parker's 'Angel Heart' continues the recent film trend of allowing theDevil 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.

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

"The Grid, the Spectacle and the Labyrinth in The Big Clock's Skyscraper: Queered Space and Cold War Discourse." Film Studies no. 11 (Winter 2007) 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]

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.

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 Big Heat See separate Lang bibliography

The Big Sleep

Abbott, Megan E.

"'Nothing You Can't Fix': Screening Marlowe's Masculinity." Studies in the Novel. 35 (3): 305-24. 2003 Fall.

UC users only

Athanasourelis, John Paul.

"Film Adaptation and the Censors: 1940s Hollywood and Raymond Chandler." Studies in the Novel. 35 (3): 325-38. 2003 Fall.

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

"Bogart, Hawks, To Have and Have Not and The Big Sleep." 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

Castille, P.D.

"Compson and Sternwood: William Faulkner's 'Appendix' and The Big Sleep."Post Script, XIII/3, Summer 94; p.54-61.

Examines Faulkner's script for Hawks' adaptation of Chandler's detective novel 'The big sleep' and suggests that Faulkner's 1945 story 'The Compson appendix' may have been greatly influenced by his work as a screenwriter.

Danks, Adrian

"Bogarting the joint: ways of reading Howard Hawks' The Big Sleep." (Film As Text) Austra

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

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