James Naremore - More Than Night - Film Noir in Its Contexts

as a genre, 210, 261, 276-77, 279-80n1;

as a genre in demise, 21, 22, 199-200, 210, 284n35;

as historical artifact, 255;

as international, 202-3, 261;

and its peak year of 1947, 56, 106, 186;

and its periodization, 10, 19, 280n2;

as liminal, 220;

as a mediascape, 254-67;

as a mood, 34, 69;

as a named category, 10;

outside Hollywood, 37-39;

in Paris 1946-1959, 11-27;

as a postmodern culture creation, 10, 138-39;

as a series or cycle, 33, 35, 73;

and social realism, 103, 124-30;

as transgeneric, 6, 31, 280n2;

as a true Hollywood genre, 37

Hitchcock, Alfred, 4, 15, 34, 45, 68, 100, 148, 187-89, 257, 259

Hitchhiking, 145, 149

Hoberman, J., 28, 154

Hobsbawm, Eric, 47

Hold Back the Dawn (Wilder), 88

Hollywood Committee for the First Amendment, 129 The Hollywood nineteen, 131 The "Hollywood Ten," 122-23, 124 Holmes, Brown, 56

Home-video audience, DTVs for, 38, 161-63, 164-65 Homme fatale, 268

Homophobia, Crossfire attack on, 114-21, 223 Homosexuality: ambiguous, 118, 133-34, 151;

Breen Office prohibitions of, 99, 118; and male-on-male torture themes, 53, 57, 63, 110-11, 114-15; and masculinity in film noir, 221-22; and "Momism," 133-34; narratives, 53, 221, 266; and social class, 114-15, 222; stereotypes, 222; of victims, 114-15; of villains, 99, 151, 242 Hong Kong cinema, 228-29 Hoover, J. Edgar, 101 Hope, Bob, 201 Hopper, Dennis, 284n41 Horkheimer, Max, 41, 292n62 Horror pictures, 139, 190, 206 Houseman, John, 106, 107-9

HUAC (House Un-American Activities Committee), 105, 122, 123, 259; allegorical film treatments of, 127-28 "Huckfinn" scenarios, 241 Hughes, Dorothy B., 223 Hugo, Chris, 156

Humor:

deadpan, 152, 158-59, 274; in film scripts, 79, 87, 158, 202, 243, 274; in noir parodies, 212, 214; in performance, 61; unintended, 21, 262 Huston, John, 16, 63, 205, 207; and The Asphalt Jungle, 128-30; and the blacklist, 124, 125, 130; and The Maltese Falcon, 57, 60, 61, 225, 288n29 Huston, Virginia, 202 Hutcheon, Linda, 302n31 Huyssen, Andreas, 44 Hybrid thrillers, 305n13; three recent examples of, 267-76

I, the Jury (Spillane), 102, 152

Iconography. See Conventions, film-noir; Visual traits of film noir Ileli, Jorge, 232 Imagery: open road, 148; poetic, 69, 77.

See also Cinematography techniques; Visual traits of film noir Immigrants:

European exile, 41, 144, 261, 286n8; working-class, 125 Imports. See European art films Infidelity, marital, 264 Insurance industry: parallels with the movies, 86; satire of, 83-84

Interior decoration. See Sets, film-noir Intermediate pictures:

Gun Crazy an example of, 150-51; versus "B" pictures, 137, 140-44, 149-55 Interracial relationships:

Asian-American, 226; black-white, 235, 239, 245-48, 251, 252; censorship of, 96; and violence, 116-17, 245, 249 Irony, uses of, 43, 72, 76, 81 Isolation, themes of, 249; and disengagement, 34; moral solitude, 26

Jackson, Samuel L., 215-19, 217 (fig.), 245 Jacobs, Lea, 141

James, Henry, 43, 46, 52, 71, 148 Jameson, Fredric, 39, 47-48, 211-12 Janssen, David, 260

Japanese characters, 225; as sadistic enemies, 102, 226 Javitz, Barbara, 162 JFK, 132, 133, 186

"Jimmy Valentine" lighting. See Lighting

J'irai cracher sur vos tombes (Vian), 12-13, 280n6

Johnson, Diane, 53

Johnson, Nunnally, 55

Johnston, Eric, 106

Jones, Chuck, 199

Jones, Tommy Lee, 164 (fig.)

Jordan, Neil, 165 Journalism, criticism of, 98, 132 Journals, film criticism: alternative, 136;

British alternative, 29;

French surrealist, 18, 19, 21, 22.

See also specific journal names Joyce, James, 41, 285n48;

Ulysses by, 25, 44-45

Kafka, Franz, 44 Kafkaesque characters, 119 Kaminsky, Janusz, 191 Kantor, MacKinlay, 150 Kaplan, E. Ann, 221 Karloff, Boris, 159 Karas, Anton, 76 Kar-Wai, Wong, 228

Kasdan, Lawrence, 192, 262 Kazan, Elia, 120, 124 Keach, Stacy, 260 Kefauver, Estes, 258 Keillor, Garrison, 196 Kelly, Keith, 122, 295nn22, 24 Kelly, Paul, 119, 120 (fig.)

Kennedy, John Fitzgerald, 132, 133, 186

Kent State shootings, 34

Killens, John O., 241

Killer inside Me (Thompson), 286n4

Killers:

angelic, 73, 78 (figs.), 79 (fig.); hit men, 158-59 (fig.), 217 (fig.); as outlaw lovers, 128, 150-51, 193, 210; retro, 216, 217 (fig.);

See also Criminals; Murder King, Stephen, 258

Kiss Me Deadly (Spillane), 22, 27, 151, 152. See also Film and Broadcast Index Kissing scenes, 101, 133, 134 (fig.), 152, 227 Kitsch, 84, 89, 161, 254, 255 Klein, Richard H., 192 Kline, Franz, 171 Klinger, Barbara, 261-62 Knopf, Blanche and Alfred, 51, 52 Korda, Alexander, 76 Korean characters, 23, 226 Kostelanetz, Richard, 172 Kotch, Howard, 104

Kracauer, Sigfried, 105, 282n18, 292n62 Kubrick, Stanley, 3, 30, 156-58 Kuluva, Will, 242 Kurosawa, Akira, 227, 290n40

Labor problems, Hollywood, 123 Labyrinth themes, 24, 158, 261; city sewers, 79, 80 (fig.), 173 Ladd, Alan, 1, 63, 73-74, 78 (fig.), 201, 290n46; in The Blue Dahlia, 107-14 passim, 112 (fig.) Ladd, Diane, 208 Lake, Veronica, 73, 290n46 Lakoff, George, 5 Lancaster, Burt, 132, 268 Lang, Fritz, 45, 67, 140-41, 144, 290n47, 303n35 Lansbury, Angela, 133, 134 (fig.)

Laszlo, Ernest, 154

Latimer, Jonathan, 63, 235, 288n30

Latin America:

backgrounds set in, 177 (figs.), 182, 229-31; themes in film noir, 229-33; thriller tradition in, 28, 232 Latin Americans:

film noir depictions of, 8, 208, 231; films noirs by, 232-33

Lautréamont, Compte de (Isidore Ducasse), 19

Lawson, John Howard, 105 Leachman, Cloris, 259-60 Lee, Canada, 237 Leff, Leonard, 82

Left Bank culture. See French intellectual culture "Left cycle" response to right-wing themes, 35, 132-33 Left-wing community, 17-18, 23-24, 236; contributions of, 131-32, 224; in France, 15, 23-24;

Hollywood's, 104, 105, 124; outlaw outlook of, 128;

Republican purge of, 106.

See also Blacklist, the Legrand, Gerard, 282n23 Lehman, Ernest, 132 Leigh, Janet, 133-34 Leja, Michael, 171, 300n14 Leonard, Elmore, 216, 232 Leone, Sergio, 290n40 Levene, Sam, 118

Lewis, Joseph H., 21, 143, 150-51, 156, 298n14

Lewis, Julliette, 197

Lewton, Val, 98, 139, 140

Liberal characters, 114, 115, 241

Liberal elements in Hollywood, 103-5, 132, 135

The Life of Raymond Chandler (MacShane), 82

Lighting:

Alton's book on black and white, 172-74, 301n18;

amber color, 188, 192, 302n27;

"exterior" sets, 181 (figs.);

faces from below, 173, 174, 182, 183 (figs.), 184 (fig.), 193;

fill, 178, 180 (fig.);

high-contrast, 176-77 (figs.), 299n3;

"Jimmy Valentine," 173, 183 (figs.), 189; light-in-darkness, 173-74;

"mystery lighting," 172-73, 182, 184-85 (figs.), 186-87, 190, 248;

neon or electric, 139, 173, 188;

power of color, 188-89;

rim light or "liner," 178, 180 (figs.);

spot, 118-19, 147.

See also Black-and-white film; Darkness, the central metaphor of Literature:

British, 63;

popular, 44, 64, 287n12; social-protest, 8, 235-26.

See also Modernism, literary; Novels, American

The Little Black and White Book of Film Noir (Thomson and Usukawa), 262 Locations. See Settings and locales, film-noir Lodge, David, 43 Loggins, Art, 241, 242 (fig.)

Lord, Marjorie, 144

Lorre, Peter, 60, 61, 74, 225, 259

Los Angeles:

Chandler in, 85-86;

changing demographics in, 232;

echoes of actual events in, 126, 207;