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

Coutard, Raoul, 190-91 Crawford, Joan, 99 Credits, 154, 155 (fig.)

Creed, Barbara, 211 Crime Illustrated (magazine), 258 Crime melodramas, 203; black, 243-44, 246; low-budget, 7, 139, 144-49, 243-44.

See also Policier (police story)

Crime Suspenstories, 258 Criminals:

black and white, 241-53 passim; films about violent, 28; outlaw couples as, 150-51;

the point of view of, 20, 70, 71, 73, 93, 128, 150-51;

psychology of, 83, 102;

social levels of, 234, 241;

as sympathetic or authentic, 3, 97-98;

on television and radio, 259-61;

thieves, 3, 128, 150, 151, 193, 210, 242, 268;

urban, 28, 214, 244-46.

See also Killers Critics. See Film critics Cronenberg, David, 266 Cronenweter, Jordan, 302n27 Cronyn, Hume, 125

Crossing borders. See Borders and boundaries "Crossing over":

into genre, 156;

to mainstream cinema, 140-41, 142, 165-66, 252, 267, 270 Crowther, Bosley, 150 Cruelty, film noir as a theater of, 21-22.

See also Sadism; Violence Cruise, Tom, 164 Cube, Ice, 247 Cukor, George, 223, 303n33 Cult films, 156, 228, 262.

See also Underground cinema, American Cult TV shows, 256 Cults and clubs, film, 21, 28, 136, 216

Culture. See French intellectual culture; Popular Front culture; Lowbrow culture; Mass culture; Popular culture; Postmodern culture

Cummins, Peggy, 150-51

Curtis, Tony, 132

Dall, John, 150-51, 165, 188

Daly, Carroll John, 49, 233

The Dame in the Kimono (Leff and Simmons), 82

Damon, Mark, 164-65

Daniels, Bebe, 55, 59 (fig.), 101

Danton, Ray, 261

Dark City, as a literary topos, 44-45, 53, 286n7 The Dark Knight Returns (Miller), 256 Darkness, the central metaphor of:

Anglo-Saxon discourse on, 28-37; as despair and gloom, 34;

French fascination with, 17;

and modernism, 47-48, 170-71; racial implications of, 7-8, 12-13.

See also Lighting da Silva, Howard, 111 Dassin, Jules, 30, 124, 125, 130, 296n34 Daves, Delmer, 238 Davis, Bette, 56-57 Davis, Eddie, 299n25 Davis, Mike, 207, 235-36, 286n8 Davis, Ossie, 242-43 Davis, Tamra, 160 Day, Doris, 20 Debord, Guy, 256 DeLillo, Don, 255 DeRochemont, Louis, 142-43 Derrida, Jacques, 5 De Sica, Vittorio, 25 de Toth, André, 264 Death. See Killers; Murder Decorations, set. See Props; Sets, film-noir Dehumanization, 42, 88, 274 DeLanda, Manuel, 267 Deming, Barbara, 105 Demme, Jonathan, 246, 266 Democrats, 104 Demographics, urban, 169, 232 DeNiro, Robert, 35 (fig.)

DePalma, Brian, 32, 263, 302n29 Depoliticalization of noir, 37, 103-4, 294n13 Depression era, 129, 130;

New Deal populism, 103, 104, 106, 120 Detective films, 259, 260; by black directors, 243-44;

Chandleresque, 18; married-couple, 56-57 Detective stories: genteel or amateur, 46, 49;

Hammett's modernization of American, 48-63 Detective TV shows, 259-60 Determinism: industrial, 88; psychological, 34, 223 The Devil Thumbs a Ride (Gifford), 273

Dialogue, 1, 21, 47, 49-51, 61, 132, 150, 202, 209, 214, 257, 262, 263, 269; Breen Office censorship of, 99, 100; in Double Indemnity, 87, 88; misogynist, 152, 245; postwar masculine, 44; racist, 245-46;

Spanish, 232-333.

See also Narration Dawara, Manthia, 246 Dimendberg, Edward, 169 Diners, urban. See Settings and locales, film-noir Directors:

Chinese-American, 228;

European films by, 130-31; famous noir, 168;

Japanese, 227-28;

Left-wing American,

104, 123-35 passim; recent, 168, 223; women, 223.

See also African-American directors; Blacklist, the "Director's cut" videos, 162-63 Disorientation of the spectator, surrealist, 18, 21, 26 Distribution systems: for "A" and "B" pictures, 140-41; for alternate film versions, 162-63; cable networks, 163;

for crossover films, 140-41, 165, 166, 267;

DTV, 161-62;

Hollywood studio, 140-41; major studio, 165-66; videostore, 163, 166.

See also Theaters; Underground cinema, American Dmytryk, Edward, 115, 118, 121; and Congress, 122-23, 131 Documentaries, 19; color, 170;

photography style of, 150 Domesticity, 84, 250, 253, 268, 292n63 Doppelgänger themes, 266 Dos Passos, John, 23, 24 Double feature era, 140-43 Douglas, Kirk, 182, 183 (fig.)

Douglas, Michael, 263, 264 Dr. Strangelove, 153, 297n7

Drake, Claudia, 145

Dreams. See American dream, the; Stories and plot structures, noir Drinking scenes: censorship of, 97, 117; provocative, 101.

See also Alcoholism themes "Drive-in" entertainment, 161, 165 Drug culture, 218-19, 233, 244

DTVs (direct-to-video productions), 38, 161-63, 164-65; major-studio imitations of, 162 Dubois, Marie, 202 Duff, Howard, 259 Duhamel, Marcel, 17, 19, 236 Dullea, Keir, 292n67

Dunaway Faye, 206-10 passim, 209 (fig.), 303n37

Durgnat, Raymond, 6, 29, 30-31

Duvall, Robert, 272

Dwan, Alan, 189

Dwyer, Marlo, 118

Eagle-Lion Company, 142

Eastmancolor, 186

Eastwood, Clint, 277

Edeson, Arthur, 60-61

Edwards, Blake, 260-61

Edwards, Vince, 158-59 (fig.), 299n24

Egoyan, Atom, 267

Eliot, T. S.:

anti-Semitism of, 65, 289n37;

influence on Greene, 65, 69-70;

The Waste Land by, 35, 44, 53, 66, 285n48, 289n37 Elliot, Allison, 268-70, 269 (fig.)

Ellipsis, use of, 99 Ellison, Ralph, 253 Ellroy, James, 275

Émigrés. See Exiles and émigrés, European Endfield, Cyril, 124, 126-27, 131, 143, 259 Entertainment Comics (EC), 258-59 Erdoty, Leo, 147 Erotic thrillers, 156-59, 162 Eroticism, noir, 18, 73, 101, 263; and masculine control, 221; masochistic, 242, 304n2; and "mystery lighting," 182, 184-85 (figs.); of violence, 20, 22, 30, 283n28.

See also Pornography, themes of; Sexuality

Ethnic groups. See "Others"; names of specific ethnic and minority groups European art films, 267;

American directors of, 130-31; black-and-white, 190; box-office success of, 32; in color, 190-91; directors of, 38, 45, 202, 207;

English-language thrillers, 203, 207-8; influence on Hollywood, 45; renaissance of, 203 Evil:

censor-required punishment of, 98, 113, 128; of modernity, 35;

speech against, 101

Evil characters. See Femmes fatales; Sadism; Villains Exhibitors. See Distribution systems; Theaters Exiles and émigrés, European, 261; in Los Angeles, 41, 144, 286n8 Existentialism, literary, 17, 33, 236; influence on French film criticism, 22-23 Exotic, the. See Asian themes and characters; Latin America Exploitation films, 144; allusions to, 216-17;

"blaxploitation," 192, 216.

See also Pornography, themes of Expressionism, 33, 192; abstract, 171;

during interwar years, 47, 287n14; and neoexpressionism, 36-37

Failure themes, 125, 268-70

"Family tree" of film noir, Durgnat's, 6, 30-31

Far Eastern settings. See Asian themes and characters

Farber, Manny, 17, 18, 32, 137, 139, 282n21

Farrow, John, 32, 168

Fascism, 102, 103, 105, 115, 122 Fashion, 74, 168, 197-98, 214, 216, 275 Fassbinder, Rainer, 38, 202 Fatalism, 34, 83; of the Left in Hollywood, 130 Faulkner, William, 9, 12, 41, 270, 293n6;

Sartre on, 23, 24 Favorite movies:

America's all-time, 297n7; the author's early, 3;

box-office success of, 32, 56, 62, 63, 138, 263, 267 Fay, Alice, 23 Fear:

of communism, 123, 133; of ordinary life, 65, 268; of women, 89, 133, 182.

See also Violence Fearing, Kenneth, 104 Fellini, Federico, 190

''Feminine" culture, modernist opposition to, 43-44, 89 Feminist film criticism, 12, 211, 221, 280n7; journals, 18, 19, 21, 22, 29, 66, 136