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

Brooks, Richard, 114-15, 118, 125, 126, 223 Browder, Earl, 104 Brown, Frederic, 145, 160 Buchan, John, 65

"Buddy" pictures, 156, 157, 160, 170, 270; "A"- and "B"-movie, 140-41;

"Buddy" pictures, (continued) classic films noirs as, 139;

DTV and cable, 161-62, 164; major studio, 140-41, 162-63;

Technicolor, 170, 300n8.

See also Box-office success Bunuel, Luis, 275 Burch, Noel, 30

Bureau of Motion Pictures (BMP), 105 Burlesques, film-noir, 201.

See also Parodies of noir Burnett, Charles, 246-48 Burnett, W. R., 73 Butler, Bill, 302n26 Byrne, Gabriel, 215

Caan, James, 193 Cable noir, 163-64, 257 Café society. See Nightclub and bar scenes Cafe Society (film). See Film and Broadcast Index Cahiers du cinéma journal, 17, 25, 26, 27, 30, 31, 136 Cain, James M., 52, 189, 259, 282n15, 303n33; career of, 83-84, 291nn54, 55, 292n57 Cain, James M., novels by:

Double Indemnity, 82-95 passim, 145;

The Postman Always Rings Twice, 23, 83, 84, 92 Cain, Paul, 288n30 Camp, 161, 262

Camus, Albert, 23 Canerday, Natalie, 271, 272 Cannes Prize pictures, 10 "Caper" movies, 128, 246-47, 262 Capitalism, 24;

antipathy toward, 86, 87, 127, 207, 253; indictment of, 22, 207, 211; and organized crime, 128, 191-92; and postmodern entertainment, 210, 211, 218, 285n52. See also American dream, the; Consumerism Carey, Philip, 260 Carlson, Richard, 127 Carter, Angela, 283n27 Cartoon parodies of noir, 200, 212 Casparay, Vera, 104, 223 Castle, William, 139

Categories, the nature of, 5-6, 22, 124, 276-77.

See also Genre construction Catholicism, 71, 97; and socialism, 64, 289n33 Cawelti, John G., 210, 211 CD-ROMs, 256 Céline, Louis Ferdinand, 44 Censorship of comics, 258 Censorship, motion-picture, 82; by conservatives, 96, 106; changing patterns of, 32, 102; effects on character motivation, 16, 109-11, 153; government, 102, 105, 108-9, 110, 234;

local, 100, 293n8;

objections to films noirs, 98-99;

prohibitions and rules, 96-97;

repressed elements, 96, 99-100, 118, 221-22;

self-censorship by filmmakers, 106;

of sexuality, 99-101;

of violence, 57, 102, 110-11;

wartime, 102, 105, 234.

See also Politics in the film community

Censorship organizations. See Breen Office; PCA (Production Code Administration) censorship

Centripetal and centrifugal urban development, 169 Chabrol, C1aude, 27 Chandler, Raymond, 1, 16, 23, 52, 198; and The Blue Dahlia, 107-14 passim; career of, 84-87;

and Double Indemnity, 82-95 passim; novels by, 3, 85-86, 190, 201, 221, 225-26, 256; parodies by, 201; revisionist parody of, 203-5; on women readers, 287n12 Chapman, Matthew, 156 Chapman, Michael, 169, 191, 192, 301n20

Characters. See Heroes and protagonists; Heroines and protagonists Charisse, Cyd, 199 (fig.)

Chartier, Jean-Pierre, 15-17

Chase, James Hadley, 41

Chase sequences, urban, 73, 76, 79, 244

Chaumeton, Etienne, 4, 18-22, 33, 40, 73, 100, 104, 168, 186, 199-200, 226, 275, 284n43

Cheadle, Don, 251 Chekmayan, Ara, 254, 255 Chinese characters, 225, 228 Choice, existential, 26, 148 Christie, Agatha, 46 Cimino, Michael, 227 Cinéma noir, the term, 13, 281n8 Cinemascope, 21, 189 Cinematography techniques: back projection, 148, 195; blue-screen, 194, 195;

camera movements, 204, 205, 238-39, 301n19, 302n29;

historically dissonant, 203-4;

long takes or temps morts, 25, 188, 238;

low-budget, 148, 298n17;

process-screen, 238;

sequence shots, 150, 269;

split-screen, 135;

tracking shots, 160, 215, 301n19, 302n29; varieties of noir, 167-68;

Welles's Heart of Darkness script, 238-39.

See also Cinemascope; Color photography; Photography techniques

Cities, development of, 169, 232.

See also Urban settings Civil rights movement, 226 Class:

artistic-intellectual, 187-88; black working, 248, 250; of blacks and whites, 241; bourgeois, 18, 51; of criminals, 234, 241; and gender, 265;

highbrow and lowbrow art and, 137;

and homophobia, 114-15, 222;

playboy, 153, 154 (fig.);

the proletariat, 99, 125, 152, 241;

and racism, 120-21, 241;

upper, 187-88, 197;

urban, 126;

working, 88, 248, 250, 268.

See also "Others"

Clément, René, 191 Close, Glenn, 263, 264 Close-ups. See Photography techniques Clothier, William H., 189-90

Clothing, noir. See Costumes, men's; Costumes, women's

Clubs, film, 21, 136

Coen, Joel and Ethan, 214-15, 290n40

Cognitive theory, 5-6

Cold war, the, 79;

and the McCarthy era, 105, 122, 123;

themes in The Manchurian Candidate, 132-35, 226.

See also Blacklist, the Coleman, Wanda, 236-37 Collectibles, movie or television, 164, 254-55 Collectors and archivists, 31-32 "Color line" themes, 12, 250-51, 252, 306n29 Color photography, 36-37; chiaroscuro effects with, 189; early films in, 170;

Eastmancolor, 186;

gels and filters, 191-93, 195;

hot and cold, 187, 192;

and low-level illumination, 191-92;

monochromatic, 188-89, 191-92, 205, 266;

muted, 188-89;

shift from black-and-white to, 170, 186-96 passim; symbolic uses of, 187, 191;

Technicolor, 170, 186, 187-89, 300n8, 302n25.

See also Cinematography techniques; Photography techniques Color pictures:

European thrillers, 191; genre films expected to be, 170; neorealist, 244; rise of, 21

Colorization of black-and-white movies, 302n25 Columbia Tri-Star, 165 Comedy, black, 158-59 Comer, Anjanette, 268

Comfort, Madi, 241, 242 (fig.)

Comic strips and books, 141, 218, 248;

Entertainment Comics, 258-59; movies based on, 256-57 Commercials, noir parodies on TV, 197 Communism:

and anticommunist noir, 127, 295n29; fear of, 123, 133, 135 Communist Party Writers' Clinics, 105 Communists, 104, 105, 293n11

Communities, minority. See "Others"; names of specific ethnic and minority groups Concentration camp newsreels, 102, 191 Condon, Richard, 132

Congress. See HUAC (House Un-American Activities Committee); Senate investigations

Conrad, Joseph, 46, 68;

Heart of Darkness by, 43, 47-48, 64, 72, 76, 210 Consumerism:

film depictions of, 89, 90 (fig.), 153, 268; and postmodern spectatorship, 210, 211, 275-76.

See also Capitalism; Mass culture Containment or huis-clos theme, 22, 284n43 Contract killers, 158-59 (fig.), 217 (fig.)

Controversial films. See Censorship, motion-picture

Conventions, film-noir, 1-2, 20, 21, 124, 166, 168-69, 201-2, 204, 214, 219, 305n10; as camp, 261-62; ideal surrealist, 274, 275; varied appropriation of, 166, 267, 273-74, 275.

See also Allusions; Visual traits of film noir Cook, Elisha, Jr., 60-61, 207

"Cool," 240-41 Cooper, Gary, 55, 58 (fig.)

Cooper, George, 118 Coppola, Francis Ford, 128 Corbett, Glenn, 226

Corruption, themes of, 113-14, 207, 210, 267; among the police, 129, 204, 212, 227, 235, 247 Cortez, Richard, 55-56, 59 (fig.)

Costume pictures, 100 Costumes, men's:

as contrast, 176 (figs.), 178, 179 (figs.); fashion noir, 198, 199 (fig.), 212; military, 118; novelists' attention to, 198; suit and hat, 58 (fig.), 59 (fig.), 145, 199 (fig.), 200; trenchcoat and hat, 176 (figs.), 178, 179 (figs.), 184 (fig.) Costumes, women's: censorship of, 101;

as contrast, 177 (figs.), 178, 179 (figs.); fashion noir, 197-98;

of femmes fatales, 89, 91 (fig.), 199 (fig.); fetishized details of, 101, 185 (fig.), 240 (fig.); pulp-style, 101, 154 (fig.), 195 (fig.).

See also Femmes fatales Cotten, Joseph, 77, 291n50 Coulouris, George, 74