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

European émigrés working in, 41, 144, 286n8;

film noir locales in, 107, 148, 153, 154 (fig.), 205, 215, 292n64, 292n63; modernist ambivalence toward, 82, 83-84, 85-86, 92; police departments, 247-48, 249;

Sleepy Lagoon case, 126, 230 Losey, Joseph, 124, 125, 130-31, 190, 296n34 Love and Other Infectious Diseases (Haskell), 31 Lovers, 18, 88, 99, 128, 150-51, 193, 210.

See also Sexuality Lowbrow culture:

ascribed to low-budget films, 139-40; avant-garde appreciation of, 32, 137, 218 Lubitsch, Ernst, 144 Lupino, Ida, 223, 259 Lynch, David, 267, 273-75 Lynchings, 117, 126-27 Lyne, Adrian, 263, 264 Lyotard, Jean-François, 261

MacArthur, Charles, 47 MacDonald, Edmund, 145 MacDonald, Joe, 189 Macek, Carl, 151

MacMurray, Fred: in Double lndemnity, 81-95 passim, 90 (fig.), 91 (fig.), 94 (figs.) MacShane, Frank, 85-87, 201 Mad magazine, 258 Madow, Ben, 129

Magazines, pulp. See Pulp fiction, American Magny, Claude-Edmonde, 26 Mailer, Norman, 240

Mainwaring, Daniel, 202 Male Experience, Voice of, 50-51 Male myths, 61, 211, 288n29; celebration of, 216-17; of culture as feminine, 43-44, 89; and urban darkness, 171.

See also Heroes and protagonists; Men, white Mallarmé, Stéphane, 42 Malraux, André, 23

The Maltese Falcon (Hammett), 51, 52-53, 57, 60-61, 63, 214, 254, 255

Maltese Falcon statuette, 254, 255

Malz, Albert, 73, 104, 131, 290n46

Mamet, David, 263

Mamoulian, Rouben, 55

Mankiewicz, Herman, 47, 108

Mann, Anthony, 142, 143, 173

Marcus, Stephen, 54 Marketing and advertising, 205, 209; of "A" and "B" pictures, 141-42; ofDTVs, 161-62; film noir, 220, 256;

of films and video-release versions, 264; niches filled by film noir, 8, 266, 267, 276; noir images in, 37 (fig.), 38-39; postmodern, 266, 307n9;

and success of films noirs, 32, 56, 62, 63, 263, 267 Markowitz, Barry, 271 Marsh, Joseph, 103 Martial arts, Asian, 226, 228 Marxism, 23, 206, 289n33 Masculinity:

of African-American heroes, 244; of the proletariat, 99, 222; psychodynamics of, 60, 61, 221, 223; threats to normative, 222, 264.

See also Homosexuality; Male myths Mass camp, 261-62 Mass culture: affection for, 218; anonymity, in, 88-89, 90 (fig.); camp sensibility in, 261-62; color illustrations of, 169, 172; hostility of high modernism to, 44, 83-89, 292n62; structural relations between modernism and, 47-48;

trash, 216-17; trivia, 255.

See also Consumerism; Popular culture Mass production, 84-85.

See also Fordism; Mass culture; Taylorism Mate, Rudolph, 201, 299n25 Mature, Victor, 226 McBain, Ed (Evan Hunter), 227 McCarthy-era Senate investigations, 105, 122, 123 McGavin, Darren, 260 McIntire, John, 129 Medak, Peter, 266 Mediascape, the noir, 254-67; cable television, 163-64, 257; circulation and transformation in, 257-67; comic books, 256-57;

of contemporary American thrillers, 261-67; pervasiveness of, 38; radio, 259;

television, 256, 259-60 Meeker, Ralph, 152-53, 154 (fig.), 242 (fig.) Melodrama, 77;

"blood melodrama," 45, 48, 69, 216; gray, 124;

high modernism and Hollywood, 48; and modernist art, 45-46, 53-54, 81; opera-style, 83 Men, white, 50-51; audiences as middle-class, 161, 276;

as playboys, 153, 154 (fig.);

POV shots for, 238-39;

pulp fiction for, 44, 46, 49-50, 161;

as spectators, 161, 276;

voyeuristic gaze of, 182, 184 (fig.), 207, 221, 264; as "White Negroes," 240-41, 242 (fig.).

See also "Others"; names of specific ethnic and minority groups Mencken, H. L., 51, 52, 291n55

Men's friendships, 77, 79, 89-90, 217 (fig.), 221-22, 241-42.

See also Homosexuality Men's violence. See Violence Merleau-Ponty, Maurice, 284n37 Metafilm, Exterior Night as a, 194-96, 195 (fig.), 196 Metty, Russell, 190 Metz, Christian, 96, 99-100, 118 Mexico. See Latin America Mez, Johnny, 194-96, 195 (fig.)

MGM, 56, 141 "Miami noir," 232 Middlebrow culture: elevating lowbrow art over, 32, 137; opposition to bourgeois and, 18, 51; satire of, 81

Middle-class audiences. See Audiences Milland, Ray, 14 (fig.)

Miller, Frank, 256, 266

Minnelli, Vincente, 198-99, 223, 301n18

Minority groups. See "Others"; names of specific ethnic and minority groups

Miramax, 267, 270, 273

Mise-en-scene:

hard-boiled cliché, 145, 149; stylized minimalist, 118-19, 148, 249; wasteland, 75, 127, 148, 150.

See also Settings and locales, film-noir Misogyny, themes of, 152, 158, 204, 221, 226, 245, 305n14 Mitchum, Robert, 121, 189, 212, 231;

in Out of the Past, 1, 175, 176 (figs.), 178, 180 (figs.), 181 (fig.), 183 (figs.), 184-85 (figs.), 202

Modernism: the term, 42 Modernism, literary, 64, 286n3; absorption and normalization of, 47-58, 287n16; affinity between noir and, 45, 153-54; and ambivalence toward Los Angeles, 82, 83-84, 85-86, 92; generalizations about, 41-45; and high modernism, 35-36; and mass culture, 47-48, 86; melodrama links with, 45-46, 53-54, 81; and the new woman, 43, 89, 91 (fig.); and New York, 171-72, 191; themes of cinematic, 45, 148-49, 153-54; transmission to America, 52.

See also Narrative themes, noir Modernity:

criticism of American, 35, 42, 67, 82, 86, 286n3; criticism of industrial, 88, 92-93; soulless women representing, 89, 91 (fig.), 149; of Vienna, 77 "Momism," fear of, 133 Monroe, Marilyn, 101-2

Moore, Susanna, 255 Morality:

censorship and, 97; conventional, 264; and glamour, 74;

mass culture violations of, 101, 258; outlaw, 20;

and social class, 120-21.

See also Censorship, motion-picture; Values Morgan, Harry, 260 Morley, Karen, 107 Morton, Rocky, 299n25 Mosley, Walter, 246, 252 Motifs, film noir. See Narrative themes, noir Motion film journal, 29-30 Motion Picture Alliance, 106

Motion picture industry. See Distribution systems; Hollywood movies; Studios Moviegoing, a personal history of, 2-3.

See also Audiences Movies about movies, 267-75

MPPDA (Motion Picture Producers and Distributors of America), 97, 100, 106 Ms. Tree comics, 256 MTV videos, 193 Muir, Florabel, 198

Multiple-perspective views, 24, 25, 71, 135 Mulvey, Laura, 197, 221, 264, 280n7 Murder, 18, 20, 74, 127, 152, 188-89, 191-92, 235, 272; censored scenes of, 100;

and racism, 234.

See also Killers; Violence Murnau, F. W., 47, 88, 144, 148 Music, 193;

African-American, 153, 154, 246, 253;

Deja Vu song, 194;

film scores, 1, 36, 76, 77, 147, 154, 252-53, 255;

Latin American, 231; and soundtrack, 249; theme, 1, 80, 201-2, 204, 206 Musicalization: of emotions, 83, 147, 265; of light, 173 Musicals, 277;

about the underworld, 198-200, 199 (fig.), 303n33 Musuraca, Nicholas, 190;

Out of the Past lighting by, 175-86, 176-77 (figs.), 179 (figs.), 180 (figs.), 181 (figs.), 183 (figs.), 184-85 (figs.)

"Mystery lighting." See Lighting

"Mystery man" characters, 119, 295n24

The Naked City (Debord), 256 Narration:

and cost-cutting, 158;

flashback, 17, 87, 92, 116;

offscreen voice-over, 35, 144, 250, 299n3;

radio script, 259;

visual, 269.

See also Dialogue

Narrative conventions. See Conventions, film-noir Narrative themes, noir: absurdity, 52, 54, 148, 206, 210; alcoholism, 18, 54, 97, 107-14, 117; antisocial behavior, 18, 20, 21; cruelty, 21-22;

existentialist, 22-26, 34, 37, 148, 236, 305n15;

Freudian, 9, 31, 133, 148, 206, 287n16; hitchhiking, 145, 149; nostalgia and gloom, 34, 216-17, 275-76; sadism, 19, 20, 29, 102, 103, 190, 226; surrealist, 17-18, 19-22, 26, 274, 275; topicality of, 277; as transhistorical, 31, 33, 284n43; urban crime, 28, 214, 244-46; wastelands, 75, 127, 148, 150.