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

See also Stories and plot structures, noir Nationalism, black, 243, 246 Native Son (Wright), 12, 235, 237, 305n17 Nazi villains, 73, 99, 102, 231 Neal, Tom, 145-49, 146 (figs.)

Negative Space (Farber), 32 Nelligan, Kate, 197 Nemec, Joseph, III, 257 Neo-noirs:

compared to art films, 270-72, 271 (fig.); compared to noirs, 262-63;

European, 203;

recent Hollywood, 10, 192-93, 200, 215-19, 233, 241, 244, 262-63 Neorealist pictures, 21

Neue Sachlichkeit, 44 NewWave:

French and German, 136, 190-91, 203; a kind of American, 32-33.

See also French film culture New York City:

affinity with darkness, 191, 244, 302n26; as the center of modernism, 171-72, 191; skylines, 171-72, 188

The New Yorker magazine, 83, 165, 255, 256, 298n14 The New York Times, 150, 155, 267, 268 New Deal populism, 103, 104, 106, 120 Newsreels, black-and-white, 102, 191 Nicholson, Jack, 206-10 passim, 209 (fig.)

Nietzsche, Friedrich, 9, 43 Night and Day j ournal, 66

Nightclub and bar scenes, 197, 218-19, 223-24, 231, 237; black, 240 (fig.), 242 (fig.);

Latin, 230, 233

Noir sensibility, 11-27, 22, 195 Noir, the term, 281n13 "Noir-lite" sets, 257

"Noon Street Nemesis" (Chandler), 233-34 Nostalgia:

contemporary uses of, 216-17, 275-76;

for films noirs, 36, 136, 169, 194-96, 206, 210-11, 216, 257;

noir theme of, 34.

See also Allusions; Fashion

"Notes on Film Noir" (Schrader), 33-34, 103, 280n2 Novelists and their films. See specific authors Novels, American: black social-protest, 235-36; contemporary, 255-56; and crime fiction, 46, 139-40, 145; detective stories, 46, 48-63; existential themes in, 23-24, 25, 26; multiple-perspective narratives in, 25, 71;

World War I, 65.

See also Modernism, literary; Pulp fiction, American Nuclear apocalypse, 22, 153, 298n23 Nudity, themes of, 152, 158, 162, 264, 274

O'Brien, Charles, 15 O'Brien, Edmond, 3, 299n25 O'Brien, Geoffrey, 168 Odets, Clifford, 132 Office of War Information, 105 O'Keefe, Dennis, 142, 174 Olin, Lena, 266 Olmos, Edward James, 232 Omission, uses of, 99 O'Morrison, Kevin, 259 Organizations: censorship by, 105, 106;

writers', 105

Orientalism, 225, 227, 228.

See also Asian themes and characters Ortega y Gasset, José, 42 Orwell, George, 41, 63, 290 Oscars. See Academy Award pictures "Others," 12;

half-caste women, 226, 251, 252; homosexuals, 221-23; noir protagonists and, 220; stereotyped Asians, 227; stereotyped blacks, 237, 239, 243; white world, 250.

See also Class; Women; names of specific ethnic and minority groups

"Others," films by. See African-American directors; Asians, films directed by; Latin Americans

Outlaw lovers, 128, 150-51, 193, 210 The Outsider (Wright), 235, 236

Pacino, Al, 233

Painting with Light (Alton) 172-74, 301n18 Paintings, black and white modern, 171 Palmer, R. Barton, 13, 223, 265, 281

Panorama du film noir américain (Borde and Chaumeton), 4, 18-22, 33, 40, 73, 100, 104, 168, 186, 199-200, 226, 275, 284n43

Panorama journal, 18, 19, 21, 22, 283n26

Paperbacks, mass-market. See Pulp fiction, American

Paramount Pictures, 55, 57, 73, 108;

home office, 86

Paris, France:

1946-1959, 11-27, 284n36;

African-American writers in, 236.

See also French intellectual culture Parker, Robert B., 260 Parks, Gordon, 243-44 Parodies of noir, 197, 198-200; cartoon, 200, 212; comic, 196, 217-18; original pictures seen as, 21; and self-parodies, 201, 303n34 Parody, definitions of, 196, 200-201, 302n31 Parrish, Leslie, 134 Passer, Ivan, 302n27 Passing, racial, 12, 250-51, 252, 306n29 Past:

black-and-white as signifier of the, 194; the missing, 211; superficial uses of the, 275.

See also Nostalgia Pastiche, 214-15, 266, 273-75; definition of, 211, 302n31.

See also Parody, definitions of Patriarchy, and independent women, 221.

See also Feminist film criticism Paxinou, Katina, 74 Paxton, John, 115-23 passim

PCA (Production Code Administration) censorship, 57, 76, 128; Double Indemnity challenges to, 82 Peploe, Claire, 223

Pereira, Hal, 86 Peret, Benjamin, 19

Periodization of film noir, 10, 19, 280n2 Peterson, Caleb, 240 (fig.)

Peterson, Lowell, 167, 175 Petty, Lori, 247 Phipps, William, 121 Phoenix, Arizona, 127

Photography techniques, 205, 238-39, 299n3; back projection, 148; camera perspective, 174;

close-ups, 60, 73, 147 (fig.), 148, 172, 193, 208, 303n37; daytime exterior, 301n20; deep-focus compositions, 18, 60, 154, 174, 186; depth of field, 299n3; in Falcon, 60-61;

John Alton's, 172-74, 301n18; low-angle, 60, 73, 186-87, 248; low-key, 9, 208, 271, 272; off-center compositions, 174; outdoor, 172;

parody or pastiche of, 214, 215;

shift from black-and-white to color, 169-96 passim;

somber color, 191-92;

street, 9,

158, 171, 172, 173; tilted camera, 77;

Welles's Heart of Darkness script, 238-39; wide-angle, 142, 154, 174, 248.

See also Cinematography techniques Picasso, Pablo, 170 Pinup girls, "B" -movie, 29, 153 Place, Janey 167, 175, 304n2 Playboy Films, 162 Playboy male, 153, 154 (fig.)

Plots. See Stories and plot structures, noir Poe, Edgar Allan, 255 Poetic realism, 68, 289n39 Polan, Dana, 150

Polanski, Roman: and Chinatown, 205-10 passim, 209 (fig.), 303n37

Police procedurals, 3, 127, 142-43, 190, 260

Police:

and corruption themes, 204, 212, 227, 235, 247; requiring respect for, 111, 129, 234; as rogue-cops, 128, 246-47 Policier (police story), 16, 116, 226-27, 282n16; black themes, 245-46;

French GrandPrix for, 236.

See also Crime melodramas Political themes, 33, 133; anticommunism, 127, 295n29; antifascism, 102, 103, 105, 115, 125, 131; black nationalism, 243-44, 246;

civil rights, 226;

New Deal populism, 103, 104, 106, 120; pro-democracy, 73.

See also Depoliticization of noir Politicians. See Public officials Politics, American: after 1947, 34, 123-35;

Democrats, 104, 132-33;

and fear of communism, 123, 132, 133, 135;

and liberals, 103-5, 127, 132-33;

New Deal populism, 103, 104, 106, 120;

Red generation of the 1940s, 131.

See also Left-wing community; Senate investigations Politics in Europe, 289n33;

Marxism, 23, 206; socialism, 64.

See also Communism; Popular Front culture Politics in the film community: after 1947, 34, 123-35; control over, 103-7, 294n13.

See also Blacklist, the; Censorship, motion-picture; Depoliticization of noir Pollack, Sydney, 259 Pollock, Jackson, 171, 300n14 Polonsky, Abraham, 124, 125, 131 Pope, Angela, 223 Pope, Frank, 266 Popular culture:

criticism of, 64, 67, 153-54 (fig.); evolution of, 210-11;

satires of, 258.

See also Consumerism; Mass culture Popular Front culture, 103, 104, 106, 294n12; and French films, 15, 16, 17-18, 69 Population change, urban, 232

Pornography, themes of, 152, 158, 161, 162, 247, 264, 274. See also Eroticism, noir

Portrait of the Artist as a Young Man (Joyce), 285n48 Positif journal, 18, 19, 282n23, 284n36, 298n14 Post-"B" pictures, 155-66 Posters, film, 36 (fig.), 62 (fig.)

"Postfemme fatale," 265

The Postman Always Rings Twice (Cain), 23, 83, 84, 92 Postmodern culture, 169, 210, 211, 218, 285n52, 305n13; the emergence of, 137-18, 210; film noir as the creation of, 10, 39, 255-56; images of film noir, 36 (fig.), 37 (fig.), 38-39; the noir mediascape in, 254-67 Postmodern genre, self-conscious, 7, 160, 257, 274 Poststructuralism, 160 Postwar eras, 23-24, 44; in America, 123-35; in France, 13, 155; in Vienna, 77, 79; and violence, 102-3 Potter, Dennis, 196 Pound, Ezra, 44 POV shots, 302n29; whites and blacks face-to-face, 238-39 Poverty Row studios, 140-41, 162;