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Woman’s Place: The Absent Family of Film Noir

Women in Film Noir

British Film Institute, 1978

Book chapter

...The world view generated within the film noir entitles this group of films to be considered as a distinct and separate entity within the history of American film.The film noir period can be taken to coincide approximately...

Resistance Through Charisma: Rita Hayworth and Gilda

Women in Film Noir

British Film Institute, 1978

Book chapter

...The argument of this article is that in Gilda it is possible to read the generic construction of Gilda as femme fatale as being in some measure overturned and exposed, partly by certain features of mise en scѐne, partly by the casting...

Postscript: Queers and Women in Film Noir

Women in Film Noir

British Film Institute, 1978

Book chapter

...Gilda seems unusual among films noirs for having as its hero an ordinary guy who also has a homosexual relationship. The ordinariness of the film noir hero does not consist of the unspectacular decency most usually constructed by Hollywood...

Double Indemnity

Women in Film Noir

British Film Institute, 1978

Book chapter

...Double Indemnity, based on James M. Cain’s roman noir of the same title, is the story of an insurance agent, Walter Neff, who plots with Phyllis Dietrichson to kill her husband by making it appear that he died falling from a moving train...
...When Rita Hayworth played the title role in Gilda she had been a major star since the early 40s, and her picture in Life magazine was so much in demand (by the armed forces) that millions of copies were printed and distributed. Her image...

The Place of Women in Fritz Lang’s The Blue Gardenia

Women in Film Noir

British Film Institute, 1978

Book chapter

...In the typical film noir, the world is presented from the point of view of the male investigator, who often recounts something that happened in the past. The investigator, functioning in a nightmare world where all the clues to meaning...
...White critics’ blindness to the importance of blackness in a racial sense to film noir has still not been adequately addressed. Race is film noir’s repressed unconscious Signifier. It was convenient that French critics first named...

Duplicity in Mildred Pierce

Pam Cook

PAM COOK is Professor Emerita in Film at the University of Southampton, UK. She is the editor of The Cinema Book (3rd Edition, 2007) and Gainsborough Pictures (BFI, 1997), and the author of Fashioning the Nation: Costume and Identity in British Cinema (1996), the BFI Film Classic on ‘I Know Where I’m Going!; (2002), Screening the Past: Memory and Nostalgia in Cinema (2005), and Baz Luhrmann in the BFI World Directors series (2010). Author affiliation details are correct at time of print publication.

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Women in Film Noir

British Film Institute, 1978

Book chapter

...We live in a society ruled by the father, in which the place of the mother is suppressed. Motherhood and how to live it, or not to live it, lies at the roots of the dilemma. (Laura Mulvey, ‘Riddles of the Sphinx: a film by Laura Mulvey...

Film Noir

The Cinema Book

British Film Institute, 2007

Book chapter

...Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood’s profound post-war affection for morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic...

Klute 2: Feminism and Klute

Women in Film Noir

British Film Institute, 1978

Book chapter

...What is at stake for feminist analysis in examining Klute in terms of film noir? For instance, a persuasive account of the film is given by Diane Giddis in which she not only makes Bree the central figure of the film, but converts the two...