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

20. George Schaefer quoted in Frank Brady, Citizen Welles (New York: Anchor Books, 1989), 215.

21. For an extended discussion of the introduction and its relationship to the film as a whole, see Guerric DeBona, "Into Africa: Orson Welles and Heart of Darkness,' Cinema Journal, 33, no. 3 (1994): 1634.

22. Patrick Brantlinger, "Heart of Darkness: Anti-Imperialism, Racism, or Impressionism?" in Heart of Darkness, ed. Ross C. Murfin (New York: St. Martin's Press), 36465.

23. For a more complete history of African Americans in these and other Hollywood films, see Donald Bogle, Toms, Coons, Mulattoes, Mammies, and Bucks: An lnterpretive History of Blacks in American Films (New York: Continuum, 1991); Thomas Cripps, Black Film as Genre (Bloomington: Indiana University Press, 1979); and Mark Reid, Redefining Black Film (Berkeley: University of California Press, 1993).

24. Bogle, Toms, Coons, Mulattoes, Maturates. and Bucks, 140. Hereafter, this work is cited parenthetically in the text.

25. Robyn Wiegman, "Black Bodies/American Commodities: Gender, Race, and the Bourgeois Ideal in Contemporary Film," in Unspeakable Images: Ethnicity and the American Cinema, ed. Lester D. Friedman (Urbana: University of Illinois Press, 1991), 323.

26. Diawara, "Noirs by Noirs," in Copjec, Shades of Noir, 273.

27. Charles Burnett, "Inner City Blues," in Questions of Third Cinema, ed. Jim Pines and Paul Willemen (London: BFI, 1989), 224. An even more direct critique of the black "gangsta" movies (also written from a black perspective) may be found in Jacquie Jones, "The New Ghetto Aesthetic," Wide Angle 13, nos. 34 (JulyOctober 1991): 3243.

28. Paul Arthur, "Los Angeles as Scene of the Crime," Film Comment (July/August 1996): 26.

29. For commentary on this strategy in another film about passing, see Lauren Berlant, "National Brands/National Body: Imitation of Life," in Phantom Public Sphere, ed. Bruce Robbins (Minneapolis: University of Minnesota Press, 1993), 173208.

1. Arjun Appadurai, "Disjuncture and Difference in the Global Cultural Economy," Public Culture 2, no. 2 (spring 1990): 2.

2. Intriguingly, Fredric Wertham's writings had been read by Joseph Losey, as background for the character of the child-murderer in the remake of M(1951).

3. For good discussions of The Fugitive and Miami Vice , see James Ursini, "Angst at Sixty Fields per Second," and Jeremy G. Butler, " Miami Vice: The Legacy of Film Noir, " in Alain Silver and James Ursini, eds., The Film Noir Reader (New York: Limelight Editions, 1996).

4. Alain Silver and Elizabeth Ward, eds., Film Noir: An Encyclopedic Reference to the American Style (Woodstock: Overlook Press, 1992), 1.

5. Barbara Klinger, Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Bloomington: Indiana University Press, 1994), 140.

6. This picture has in fact influenced the way contemporary audiences view the past. The current laser-disk edition of Possessed (1947) carries a blurb describing the film as a "Fatal-Attraction thriller."

7. R. Barton Palmer, Hollywood's Dark Cinema: The American Film Noir (New York: Twayne, 1994), 184.

8. Thomas Pynchon, Vineland (New York: Penguin, 1991), 326.

9. For an intelligent and more sympathetic account of the postmodern marketplace, see Timothy Corrigan, A Cinema without Walls (New Brunswick: Rutgers University Press, 1991). Corrigan offers a wide-ranging discussion of the ways in which contemporary movies affect spectatorship, genres, and auteurs.

10. In 1991, Stephen Soderbergh filmed Kafka, which is perhaps his most unalloyed art movie.

11. A more deconstructive use of similar materials in literature may be found in Robert Coover's short story "Gilda's Dream," in Night at the Movies: Or, You Must Remember This (Normal, Ill.: Dalkey Archive Press, 1997).

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