Companion to Film Noir.

A Companion to Film Noir -- Copyright -- Contents -- List of Illustrations -- Notes on Contributors -- Acknowledgments -- Foreword -- Introduction: The Problem of Film Noir -- An International Genre? -- What is Film Noir? -- Redefining Film Noir: Cultural Contexts -- Redefining Film Noir: Social and Industrial Contexts -- The Fabric of Film Noir: Style and Subjectivity -- The Noir Mediascape -- The Success of Film Noir -- Notes -- Part I Conceptualizing Film Noir -- 1 The Strange Case of Film Noir -- A "Radical Aesthetic Break" -- A Distinct Cluster of Films -- Sociocultural Trauma -- Notes -- 2 Genre, Hybridity, Heterogeneity: or, the Noir-SF-Vampire-Zombie-Splatter-Romance-Comedy-Action-Thriller Problem -- The Lures of the Hybrid -- History and Heterogenity -- Notes -- 3 A Wet Emptiness: The Phenomenology of Film Noir -- The Lid and the Works -- Gulf City -- Night For Day -- Notes -- 4 Cinephilia and Film Noir -- Loving Film Noir -- Cinephilia as a Phenomenon -- The Invention of Film Noir -- The Noir Collector -- Notes -- Part II Hidden, Hybrid, and Transmedia Histories and Influences -- 5 Precursors to Film Noir -- Pre-Code Precursors -- Returning Veterans: The Forgotten Men of World War I -- Warren William: Rogue of Pre-Code -- Love Is a Racket: The Tough Sexual Politics of Pre-Code Noirs -- Notes -- 6 Crisscrossed?: Film Noir and the Politics of Mobility and Exchange -- Introduction -- Film Noir and France -- Film Noir and Germany -- Film Noir: Europe and Hollywood -- Le Jour se lève and The Long Night -- Lured and Pièges -- Conclusion -- Notes -- 7 Film Noir and Horror -- Introduction -- 1930s' American Horror and the Noir to Come -- 1940s' American Horror and Noir -- Conclusion -- Notes -- 8 Borderings: The Film Noir Semi-Documentary -- Dark Passage: Stranger on the Third Floor -- Institutional Truth-Telling: Southside 1-1000 -- Notes.

9 Crime Fiction and Film Noir -- The Initial Broad and Undifferentiated Public: Gangster Fiction -- The First Counterpublic: Detective Fiction -- Second Counterpublic: Sex and Cynicism -- Third Counterpublic: Irrationality and Psychosis -- Fourth Counterpublic: Connoisseurship, Iconicity, and Intertextuality -- Notes -- 10 Film Noir, American Painting and Photography: Questions of Influence -- American Art I: The Ashcan School -- American Art II: Reginald Marsh and Edward Hopper -- Photography -- Conclusion -- Notes -- Part III Social, Industrial, and Commercial Contexts -- 11 The Politics of Film Noir -- Introduction -- Political Noir -- Abraham Polonsky -- Joseph Losey -- Jules Dassin -- Cy Endfield -- Robert Rossen -- Conclusion -- Notes -- 12 The Black Typewriter: Who Wrote Film Noir? -- Introduction -- Who Wrote the Film? -- The Hard-Boiled Influence -- Women Write Noir -- Film Noir and the Blacklist -- Conclusion -- Notes -- 13 Film Noir and Studio Production Practices -- "Early" Film Noir: Outside and Inside the Studio System -- Film Noir Production During the War Years -- The Exhibition of Films Noir: Noir's Place on the Double Bill -- Films Noir Production on Poverty Row -- Noir Production at the End of the Studio Era and the Rise of the Independents -- Notes -- 14 Film Noir and Post-Studio Production Practices -- Introduction -- Neo-Noir and New Hollywood -- Neo-Noir in the Era of the Blockbuster -- Neo-Noir, Independent Production, and the Video Rental Boom -- Commodifying Neo-Noir: Direct-to-Video Companies -- Conclusion -- Notes -- 15 Selling Noir: Stars, Gender, and Genre in Film Noir Posters and Publicity -- Introduction: Contexts, Codes, and Conventions -- Gilda: Object of Contemplation, Desiring Subject, Woman being Beaten -- Double Indemnity: You Can't Kiss Away a Murder!.

Masculinity in Murder, My Sweet: From Juvenile to World-Weary -- Out Of The Past: A Guy Without a Future -- Notes -- Part IV The Fabric of Film Noir: Style and Performance -- 16 Out of the Shadows: Noir Lighting and Hollywood Cinematography -- Noir Lighting and Film Technology -- The Moods of Noir -- Precision Effects -- Glamorous and Grotesque -- Conclusion -- Acknowledgments -- Notes -- 17 The Ambience of Film Noir: Soundscapes, Design, and Mood -- Introduction: Tones of Noir -- Sound in the Studio Era: Technological and Industrial Contexts -- The Development of Sound Conventions -- Footsteps in the Dark: Pacing through the City Soundscape -- Spaces and Moods: Nitery Singers in the Noir Nightclub -- Listening in the Dark: Points and Patterns of Audition -- Audition and Alienation: Point of Audition in Neo-Noir in the 1970s -- Enveloped in the Dark: Noir Surround Sound -- Conclusion -- Acknowledgments -- Notes -- 18 In a Lonely Tone: Music in Film Noir -- The Orchestral Score and Film Noir -- Jazz and Film Noir -- New Approaches and Murder by Contract -- Notes -- 19 Acting and Performance in Film Noir -- Screen Performance -- Diegetic Performance -- Social Performance -- Conclusion -- Notes -- Part V Identities and Film Noir -- 20 Film Noir and Subjectivity -- Cultural and Aesthetic Contexts: Noir and Modernism -- Noir Form: the Aesthetics of Subjectivity -- Film Noir and Neo-Noir: Modernist and Postmodernist Subjectivity -- Notes -- 21 Women in Film Noir -- Critical Perspectives on Women in Film Noir -- Women in American Film Noir -- Women in Neo-Noir -- Notes -- 22 "The Corpse on Reprieve": Film Noir's Cautionary Tales of "Tough Guy" Masculinity -- The Problem of Men: The War, the Return, the Diagnosis -- Reclaiming the Guilty Past -- Film Noir as Talking Cure -- Conclusion -- Notes -- 23 Ethnicity and Race in American Film Noir.

The Shared History of Race and Ethnicity -- Bogie's Noir Stance on Race and Ethnicity -- Ethnicity in Classic Film Noir -- Race in Classic Film Noir -- Race in Neo-Noir -- Ethnicity in Neo-Noir -- Noir Ambivalence about Race and Ethnicity -- Acknowledgments -- Notes -- 24 The Climb and the Chase: Film Noir and the Urban Scene - Representations of the City in Three Classic Noirs -- The Dark City of Noir -- Sleepless -- Sweat Gleams at Night -- Noir of the Soul -- Conclusion -- Notes -- Part VI Noir in Other Forms -- 25 Radio Noir in the USA -- Introduction: Critical Background and Neglect -- Radio Programming - Adaptations -- Crime Programming on Radio -- Formal Differences Between Radio and Film -- The Aesthetics and Sensational Appeal of Radio Noir -- The Decline of Radio Drama -- The Importance of Radio Noir -- Notes -- 26 Television Noir -- Noir Wars and Paradigm Cases -- Out of Our Past -- Moral Ambiguity -- Noir et Blanc in Color -- Sunshine Noir -- Television Auteurism and Miami Vice -- Crime Story -- The Equalizer, Stingray, Wiseguy -- Mixed Genre Series -- The End of Noir? -- Conclusion -- Acknowledgments -- Notes -- 27 "It Rhymes with Lust": The Twisted History of Noir Comics -- Notes -- Part VII New Geographies of Film Noir -- 28 Film Noir in Asia: Historicizing South Korean Crime Thrillers -- Postwar South Korean Cinema and Black Hair -- The Policier, Korean-Style: The Last Witness -- Conclusion -- Notes -- 29 Bombay Noir -- Bombay Noir and Gangsters -- Serial Killers and Media Classics -- Johnny Gaddaar: Counterfeiting Noir -- Conclusion -- Acknowledgment -- Notes -- Index.