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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...

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...

Dream City

James Naremore

James Naremore is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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On Kubrick

British Film Institute, 2007

Book chapter

...Soon after Fear and Desire opened in New York, Kubrick set out to make another low-budget feature under the auspices of his own company, which he dubbed ‘Minotaur Productions’. In July 1953, via legal representatives, he submitted a script...

Women in Film Noir

Women in Film Noir

British Film Institute, 1978

Book chapter

...The dark lady, the spider woman, the evil seductress who tempts man and brings about his destruction is among the oldest themes of art, literature, mythology and religion in western culture. She is as old as Eve, and as current as today...

Are genres stable?

Rick Altman

Rick Altman is a professor of Cinema and Comparative Literature in the Department of Cinema and Comparative Literature, University of Iowa, USA. His many books include ‘Film/Genre’ (BFI 1999) and ‘Silent Film Sound’ (2007). Author affiliation details are correct at time of print publication.

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Film/Genre

British Film Institute, 1999

Book chapter

...Genre can be defined as a structural pattern which embodies a universal life pattern or myth in the materials of language…. Genre is universal, basic to human perceptions of life.Prior to the mid-twentieth century, discussions of genre...