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

noir productions from, 143-44, 147-49 Poverty views of, 138-39, 150, 231, 250 Powell, Dick, 1, 198, 259, 264 Powell, Michael, 191 Powell, William, 56 PRC studio, 141, 142, 143, 144 Presskit, promotional, 36 (fig.), 38 Prévert, Jaques, 19 Priestly J. B., 64 Prism Pictures, 162

Private-eye movies, 190, 240-41, 249-53 Private-eye TV shows, 259-60 Prize-winning films, Cannes, 10.

See also Academy Award pictures Producer-distributors, 141 Production Code: objections to films noirs, 98-99; prohibitions, 96-97, 221; refusals to obey the, 100; report form, 97.

See also Breen Office; Censorship, motion-picture Production design. See Sets, film-noir Production methods, Hollywood, 32;

low-budget, 140-41, 144, 147, 148.

See also Black-and-white film; Lighting Prohibitions and issues, censorship, 96-97 Propaganda:

in the Production Code, 96-97; wartime, 73, 102, 226 Props:

the Detour coffee cup, 147 (fig.); guns, 58 (fig.), 62 (fig.), 217 (fig.); the Maltese Falcon statuette, 254, 255; the manhole cover, 79; sinister, 174, 184 (fig.), 208; street lamps, 116, 148, 173; symbolic, 18, 119, 147-48; venetian blinds, 189, 248.

See also Costumes, men's; Costumes, women's; Lighting; Sets, film-noir Prostitution themes, 115, 228; censorship of, 117, 226

Psychoanalysis 4, 44-45, 133, 287n16, 290n46.

See also Freud; Freudian themes Psychoanalysis magazine, 258 Public officials:

and corruption, 113-14, 129, 135, 207, 210, 267; respect for, 96-97, 111, 234; unsympathetic depictions of, 97-98, 135.

See also Police

Pulp fiction, American, 7, 46, 49, 158, 246, 257-58, 287n12; book covers, 101, 169, 172, 192, 195, 256;

sources of upscale productions, 160; success of, 293n9 Pynchon, Thomas, 265-66

Quaid, Dennis, 299n25

Queneau, Raymond, 10, 11

Qu'est-ce que la littérature? (Sartre), 24, 25

Qu'est-ce que le cinéma? (Bazin), 25-26

Quigley, Martin, 97

Racial themes in films noirs, 7-8, 224; by African Americans, 247-48; imperialist and primitivist, 239; intolerance and hatred, 116, 117, 120, 125-26, 152, 245;

Latin community, 230, 233;

1940's, 237;

and racial passing, 250-51, 252, 306n29.

See also Anti-Semitism; names of specific ethnic and minority groups Radio programs, noir, 259 Raksin, David, 1 Rappaport, Mark, 194-96 Rattigan, Terence, 72, 75 Ray, Nicholas, 26, 124, 128 Ray, Robert, 35, 298n14 Reagan, Ronald, 126 Realism, 25, 262, 270; of black and white, 172-73; of gangster pictures, 55-56, 57, 60; poetic, 68, 289n39;

of violence, 102-3.

See also Social realism anti film noir Red generation of the 1940s, 131.

See also Blacklist, the Reed, Carol, 75, 76, 77, 80, 291n50 Regression, themes of, 275 Reiner, Carl, 197, 200 Reinhardt, Ad, 171

Release strategies, film. See Distribution systems Religion, 64, 71, 289nn33, 35;

Greene's politics and, 66, 75-76.

See also Anti-Semitism

Remakes, noir, 63, 160-61, 235, 267-70, 269 (fig.), 299n25; British, 212; by cable networks, 163 Rental outlets, film, 161-62, 163 Republic Studio, 140, 141, 143 Resnais, Alain, 38, 270 Retro style, 192-93, 206, 212, 275.

See also Fashion

Revenge dramas, English, 69-70, 72 Reviews, movie:

American compared to French, 16-17, 282n18; by Greene, 66-69.

See also Art criticism; Film critics Revivals, 21;

film-festival and theater, 28, 136-37 Richards, Dick, 235 Right-wing themes, 35, 132-33

Riots, American political, 34 Ripstein, Arturo, 233 Ritter, John, 272 Rivette, Jacques, 26 RKO studio, 140, 143 Road pictures:

with outlaw lovers, 128, 150-51, 210;

violent, 145, 148, 150 Robbins, Lance, 161-62 Roberts, Eric, 163

Robinson, Edward G., 82., 94 (figs.), 95, 125

Rodriguez, Robert, 160, 233

Rogers, Ginger, 126, 287n16

Rogin, Michael, 133

Rogue-cop films. 128, 246-47

Rohmer, Eric, 25, 284n35

Roje, Arson, 256

Roman, Serge, 194

Romantic comedies, 277

Romantic settings, Latin American, 229-31

Romero, Roland J., 232

Rooney Mickey, 259

Rosenbaum, Jonathan, 28, 135, 295n28

Rosenblatt, Roger, 236

Rossen, Robert, 124, 125, 131-32

Roundtree, Richard, 243-44, 245 (fig.)

Rourke, Mickey, 227 Russell, Jane, 231

Ryan, Robert, 118, 121 (fig.), 122, 242

Sadism:

of enemies in propaganda films, 102, 226; as a noir element, 19, 20, 29, 103, 190; and sadomasochism, 53, 71, 74, 156, 158.

See also Violence Sadistic gaze: the male, 221;

and voyeurism, 182, 184 (fig.), 207, 264 Salles, Walter, 233 Salt, Waldo, 104, 125 Sanctuary (Faulkner), 12, 293n6 San Francisco settings, 181 (figs.), 257 Sanders, Lee, 187

Sams, Andrew, 31-32, 55, 136, 137 Sartre, Jean-Paul, 11, 23, 236; on American novelists, 24-25 Savage, Ann, 145 Sayles, John, 260 Schaefer, George, 237-238 Schary, Dore, 128, 143;

and Crossfire, 115, 116, 118, 119, 121, 122, 123 Scheuer, Philip K., 17 Schickel, Richard, 91, 92 Schrader, Paul, 33-34, 103, 280n2

Schwartz, Nancy Lynn, 106 Scores, film. See Music

Scorsese, Martin, 32, 245, 266, 285n48, 299n25; and Mean Streets, 159-60, 244; and Raging Bull, 103, 191, 302n25; and Taxi Driver, 34-37, 35 (fig.), 192 Scott, Adrian, 115, 121, 122-23 Scott, Lizabeth, 3, 264 Screen Writers Guild, 105 Scripts:

alternate versions of, 81-82, 91-93, 121-22, 63-24; left-wing writers of noir, 104, 124-30;

MPPDA reviewing of, 98.

See also Breen Office; Censorship, motion-picture The Seduction of the Innocent (Wertham), 258 Seigel, Don, 37, 190 Selznick, David O., 76, 100, 291n49; on Hammett, 55 Senate investigations:

McCarthy-era, 105, 122, 123; of comic books, 258 Sequels: ''B" pictures, 141; money-making, 56

Série noire (Gallimard), 12, 13, 17, 236 Server, Lee, 49 Sets, film-noir, 194-96; exterior; 181 (figs.); foreign settings as decor, 231; gas chamber, 91-93, 94 (figs.), 95;

interior, 60, 84, 86, 87, 149, 172, 182, 183 (fig.), 192;

"noir lite," 257.

See also Lighting; Props

Settings and locales, film-noir, 65, 66, 68, 118-19, 142, 172-73, 193, 213 (figs.), 214, 244, 249, 292n63;

Asian, 225-27;

big business office, 88;

carnival or festive, 229, 233, 261;

cheap or sleazy, 139-40, 149, 172, 173;

city sewers, 79, 80 (fig.), 173;

city streets, 9, 158, 171, 172, 173, 181 (fig.);

consumer-world, 89, 90 (fig.), 153;

domestic architecture, 84, 250;

foggy or rainy; 22-23, 148, 173, 174, 181 (fig.);

grocery market, 89, 90 (fig.);

home and family, 84, 250, 253, 268, 292n63;

hospital, 269;

hotel or motel room, 88, 149; labyrinths, 24, 79, 80 (fig.), 173, 261;

Latin American, 229-31;

massified public-world, 88-89, 90 (fig.),;

nightclubs and bars, 197, 218-19, 223-24, 230, 231, 233, 237, 240 (fig.), 242 (fig.);

on-location city, 126-27, 172, 215;

police station, 249;

suburban, 153, 268;

upper-class interior, 187-88, 197;

urban diners, 23, 145, 179 (fig.), 193;

Watts neighborhood, 250, 253.

See also Mise-en-scene; Urban settings; names of cities Sexual perversity:

father-daughter, 207, 252; mother-son, 133, 134 (fig.); of noir villains, 98-99, 144; and voyeurism, 182, 184 (fig.), 207, 264.

See also Sadism

Sexual politics of film noir, 224, 304n2 Sexuality:

black male hedonist, 244; censorship of illicit, 96, 98, 99, 100; exotic forbidden, 226; fear of a woman's, 182; and jealousy, 227;

and kissing scenes, 101, 133, 134 (fig.), 152, 227;