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

mechanical modern, 44, 89, 265;

noir hero, 20, 34, 35;

noir heroine, 20, 89, 264, 265;

and obsession, 157, 158, 264;

and paranoia, 209;

and pornographic themes, 152, 158, 161, 162, 247, 264, 274; and sex by ellipsis, 99; surrealist, 17, 265;

of women as a weapon, 91 (fig.), 182, 185 (fig.), 195 (fig.). See also Eroticism, noir; Homosexuality Sexuality and violence, 12, 266; censorship of, 99, 100; film criticism on, 29-30; pathological, 207, 208, 264; rape, 99, 100, 245 Shades of Noir (Copjec), 246 Shamroy, Leon, 186-87

Shaw, Joseph T. "Cap," 50, 51 Shaw, Victoria, 226

Shelden, Michael, 66

Shepherd, Cybill, 213 (figs.), 214

Shigeta, James, 216-27

Shock Illustrated magazine, 258

Shock Suspenstories, 258

Short subject, noir, 194-96, 195 (fig.)

Showtime cable network, 163 Shue, Elizabeth, 268 Signorelli, Tom, 193 Silhouette lighting. See Lighting Silver, Alain, 4, 9-10, 103, 151, 261 Simmons, Jerrold L., 82 Sin City comic books, 256, 266 Sinatra, Frank, 133-34, 226 The Singing Detective (Potter), 196 Siodmak, Robert, 267-68, 299n25 Sirk, Douglas, 190 Sistrom, Joseph P., 107 Sizemore, Tom, 250 Skouras, Charles P., 140 Skyline, Manhattan, 171-72, 188 "Sleeper" movies, 142, 165-66 Smart Set magazine, 51 Smith, Art, 128

Smoking, ritualized, 99, 101, 212; parodies of, 200, 215 Social class. See Class Social criticism:

disdain for, 216;

in films noirs, 21, 73, 130-31, 246-48 Social realism and film noir, 103, 215, 234, 236; post-1947 left-wing, 124-30 Socialism, 64, 289n33 Social-problem pictures, 103; about returning veterans, 107-14, 114-23; left-wing school of, 124-35 passim; non-systemic, 120-21 Social-protest literature, black, 8, 235-36 Sociologists, cold-war, 105, 106 Soderbergh, Steven, 160, 267-70 Soundtracks. See Dialogue; Music; Narration South America. See Latin America Southern California. See Los Angeles Spanish, noir films in, 232-33 Sparkuhl, Theodore, 65 The Spectator periodical, 66-67 Spectatorship, the politics of, 238, 239.

See also Audience reactions Spielberg, Steven, 191 Spillane, Mickey: dialogue by, 152;

success and popularity of, 22, 102, 130, 151, 155, 200, 256, 260, 293n9 Spillane, Mickey, novels by:

I, the Jury by, 102, 152;

Kiss Me Deadly, 22, 27, 151, 152-55 Spy stories, 68, 74, 225

Standards. See Censorship, motion-picture; Morality

Stanton, Harry Dean, 197 Stanwyck, Barbara, 292n65; in Double Indemnity, 89, 90 (fig.), 91 (fig.), 95 Steiner, Max, 1,61 Steinman, Clay, 122, 295nn22, 24 Sternberg, Josef von, 55, 226 Stevens, Andrew, 163 Stevens, Craig, 260 Stewart, James, 101, 188, 212, 259 Stoltz, Eric, 219 Stone, Oliver, 193 Stone, Sharon, 264, 283n28 Stories and plot structures, noir:

"blood melodramas," 45, 48, 69, 216;

"buddy" pictures, 241-42; by female or gay artists, 223;

dreamlike, 21, 100, 118-19, 134, 144, 212-14, 213 (fig.), 238, 248, 273-75, 147-48; incoherent or confusing, 18, 21, 26, 35, 100, 282n21; multiple-perspective, 24, 25, 135; nonlinear, 215-19;

Poverty Row production, 143-44, 147-49;

"wrong man" pictures, 110, 233.

See also Narrative themes, noir Stream of consciousness, visual, 269 Street lamps, 116, 148, 173

Street photography, New York School, 158, 171, 172 Stringer, Julian, 228-29 Studios, 117;

"B"-picture units at, 141; cable network, 163;

DTV and major, 162-63; insurance business parallels to, 86;

Poverty Row, 140-41, 143-44, 147-49, 162; reorganization of Hollywood, 123; and unions, 123.

See also Politics in the film community Suicide, 98, 133; seen as escaping justice, 128 Sullivan, Vernon (pseud .). See Vian, Boris Sundance Film Festival, 267 Surrealist film criticism:

British, 29, 30-31;

French, 17-18, 19, 21, 22; the ideal cinema of, 274, 275 Surtees, Robert, 191 Suzuki, Seijun, 227-28 Sydney, Sylvia, 55, 58 (fig.)

Sylbert, Richard, 205, 212

Taboos. See Censorship, motion-picture Tanguy, Yves, 19

Tarantino, Quentin, 5, 165-66, 232; and Pulp Fiction, 215-19, 217 (fig.), 245-46 Taylorism, 83.

See also Fordism; Mass culture; Mass production

Technicolor, 170, 186, 300n8; first suspense film in, 187-89; preservation of prints made in, 302n25

Techniques, cinematic. See Cinematography techniques; Photography techniques Television, 259-60; color, 186; cult shows, 256; films made for, 7, 38; news conference scene, 134-35; parodies of noir on, 197, 212-14, 213 (fig.); photography, 190; rise of color films and, 186

Television programs. See Film and Broadcast Index Television, videos for home. See DTVs Telotte, J. P., 5

"Terror films," American, 282n18 Theaters:

movie rental costs to, 140; revival, 28, 136-37.

See also Distribution systems; Underground cinema, American Theory of Film Practice (Burch), 30 The Thin Man (Hammett), 54-55, 56, 63 The Third Man (Greene), 237; film analysis, 76-77, 80-81 Thomas, Daniela, 233 Thompson, Jim, 160, 164, 216, 286n4 Thomson, Peggy, 262 Thorin, Donald, 193

Thornton, Billy Bob, 270-73, 271 (fig.) Thrillers:

art, 48, 156-58, 160, 166, 270; budgets of, 156, 157, 160, 270; cable network, 163; contemporary American, 261-67; early color, 187-89, 191; erotic, 156-59, 162;

European English-language, 203, 207-8; hybrid, 267-76, 305n13;

Latin American, 28, 232.

See also "B" pictures Tierney, Gene, 186-87, 226 Titles, film. See Film and Broadcast Index Torture. See Sadism; Violence Toughness, literary, 23-24, 44, 83, 236; in detective stories, 49-50 Tourism, noir, 257, 292n63 Tourneur, Jacques, 143, 175, 202 Towne, Robert, 205-6 Tragedy:

American, 83;

Greek, 133;

revenge dramas, 69-70, 72 Travolta, John, 215-19, 217 (fig.), 232, 245 Trenchcoats. See Costumes, men's Trese, Adam, 268 Trevor, Claire, 174, 198 The Trial (Kafka), 44

Trilling, Lionel, 210 Truffaut, François, 26, 27, 38, 202; interview of Hitchcock, 187, 189 Trumbo, Dalton, 125, 128, 131 Turner, Ted, 161, 302n25 "The Turn of the Screw" (James), 46, 287n16 Tuska, John, 124

TV series. See Television; Film and Broadcast Index Tweed, Shannon, 162, 163

Ulmer, Edgar G., 28, 125, 144, 298n17 Ulysses (Joyce), 44-45 Underground cinema, American, 28, 297n5; the idea of, 137-38, 142, 216

Underworld, musicals about the, 198-200, 199 (fig.), 200, 303n33 Unionization, industrywide, 123 U.S. Navy; 170; censorship by the, 108-9, 110 Upside down scenes, 154, 155 (fig.), 269 Urban crime themes, 28, 214, 244-46 Urban development, forms of, 169, 232 Urban settings: dark, 171, 181 (figs.), 232; deserted, 249;

diners, 23, 145, 179 (fig.), 193; exterior, 119, 181 (figs.), 249; interior, 18, 84, 86, 88, 119;

Latinization of, 232; neighborhood, 250, 253; nightmarish images of, 35-36, 44-45;

sewer scenes, 79, 80 (fig.), 173; wet streets, 9, 173, 181 (fig.).

See also names of cities Urban-vigilante movies, 35; rogue-cop, 128, 246-47 Ursini, James, 4 Usukawa, Saeko, 262

Valentine, Joseph, 187 Valentine, Paul, 178, 179 (figs.)

Valli, Alida, 77 Values:

acceptance of modernist, 47-48; inversion of capitalist and puritan, 22; outlaw morality, 20; unintelligible ethical, 54, 135.

See also Morality Van Peebles, Melvin, 243-44 Verhoeven, Paul, 264 Vernet, Marc, 101 Versions of films:

with alternate endings, 81-82, 91-93, 94 (figs.), 95, 121-22; audience-influenced, 263-64;

"director's cut," 162-63, 264.