Notes

Notes
1
Robin Buss, French Film Noir (London: Marion Boyars, 1994)
Buss
French Film Noir
1994
Charles Higham and Joel Greenburg, Hollywood in the Forties (New York: A. S. Barnes, 1968)
Higham
Hollywood in the Forties
1968
Foster Hirsch, The Dark Side of the Screen (New York: A. S. Barnes, 1981)
Hirsch
The Dark Side of the Screen
1981
Alain Silver and Elizabeth Ward, eds., Film Noir: An Encylopedia of the American Style (Woodstock, N.Y.: Overlook Press, rev. ed., 1992)
Silver
Film Noir: An Encylopedia of the American Style
1992
Jon Tuska, Dark Cinema: American Film Noir in Cultural Perspective (Westport, CT: Greenwood Press, 1984)
Tuska
American Film Noir in Cultural Perspective
1984
Paul Schrader, "Notes on Film Noir," in Film Genre Reader, ed. Barry Keith Grant (Austin, TX: University of Texas Press, 1986), pp. 167-82
Schrader
Notes on Film Noir
167
Film Genre Reader
1986
David Bordwell, Janet Staiger, and Kristin Thompson, The Clas- sical Hollywood Cinema (New York: Columbia Univer- sity Press, 1985)
Bordwell
The Classical Hollywood Cinema
1985
Raymond Borde and Eugene Chaumeton, Panorama du film noir americain, 1941- 1953 (Paris: Editions du Minuit, 1955)
Borde
Panorama du film noir americain, 1941-1953
1955
Raymond Durgnat, "Paint It Black: The Family Tree of Film Noir," Cinema nos. 6-7 (1970), pp. 49-56
Durgnat
49
6
Cinema nos.
J. A. Place and L. S. Peterson, "Some Visual Motifs of Film Noir," Film Comment, vol. 10, no. 1 (1974), pp. 13-18
Place
1
13
10
Film Comment
J. P. Telotte, Voices in the Dark: The Narrative Patterns of Film Noir (Urbana, IL: University of Illinois Press, 1989)
Telotte
Voices in the Dark: The Narrative Patterns of Film Noir
1989
Frank Krutnik, In a Lonely Street: Film Noir, Genre, Masculinity (London: Rutgers, 1991)
Krutnik
Film Noir, Genre, Masculinity
1991
R. Barton Palmer, Hollywood's Dark Cinema. The American Film Noir (New York: Twayne, 1994)
Palmer
The American Film Noir
1994
John Belton, "Film Noir' s Knights of the Road," Bright Lights Film Journal 12 (Spring 1994), pp. 5-15
Belton
5
12
Bright Lights Film Journal
2
1941-1958 seem to have been first proposed by Schrader, who used The Maltese Falcon and Touch of Evil
Schrader
Who used The Maltese Falcon and Touch of Evil
1958
E. Ann Kaplan, ed., Women in Film Noir (London: BFI, 1980)
Kaplan
Women in Film Noir
1980
Palmer, and many of the essayists in Joan Copjec, ed., Shades of Noir (London: Verso, 1993)
Palmer
The essayists in Joan Copjec
1993
Marc Vernet, "Film Noir on the Edge of Doom," pp. 1-31
Vernet
1
Film Noir on the Edge of Doom
3
Spencer Selby, Dark City: The Film Noir (Jefferson, N. C.: McFarland, 1984)
Selby
The Film Noir
1984
4
"What Is an Author?," in V. Harari, ed., Textual Strategies (Ithaca, N.Y.: Cornell University Press, 1979), p. 153
Harari
What Is an Author?
153
Textual Strategies
1979
5
Philippe Boggio, Boris Vian (Paris: Flammarion, 1993)
Boggio
Boris Vian
1993
James Campbell, "Sullivan, the Invisible Man," Times Literary Supplement (January 28, 1994), p. 7
Campbell
7
Times Literary Supplement
I Spit on Your Grave
Carol Clover in Men, Women, and Chainsaws (Princeton, N.J.: Princeton University Press, 1992)
Clover
Men, Women, and Chainsaws
1992
6
Manthia Diawara, "Noir by Noirs: Toward a New Realism in Black Cinema," in Copjec, ed., pp. 261-78
Diawara
261
Noir by Noirs: Toward a New Realism in Black Cinema
7
Jacques Bourgeois, "La Tragedie policier," Revue du cinema 2 (1946), pp. 70-72.
Bourgeois
70
2
Revue du cinema
8
Hollywood's Dark Cin- ema, pp. 1-31
1
Hollywood's Dark Cinema
9
Ed- ward Byron Turk, Child of Paradise: Marcel Carne and the Golden Age of French Cinema (Cambridge, MA: Harvard University Press, 1989)
Turk
Child of Paradise: Marcel Carne and the Golden Age of French Cinema
1989
Alan Williams, Repub- lic of Images: A History of French Filmmaking (Cam- bridge, MA: Harvard University Press, 1992)
Williams
Republic of Images: A History of French Filmmaking
1992
Dudley Andrew, Mists of Regret (Princeton, N.J.: Princeton Uni- versity Press, 1995)
Andrew
Mists of Regret
1995
1994 Society for Cinema Studies Conference (scheduled for publication in Iris), Charles O'Brien showed that the term "film noir" was widely used by the French in discussions of their own cinema during the 1930s
Brien
1994 Society for Cinema Studies Conference
1994
10
The Philadelphia Inquirer wrote that The Maltese Falcon was "worthy to stand with the English-made mysteries of Alfred Hitchcock" (10/25/41)
10/25
The Philadelphia Inquirer
1941
New York Times described John Huston as "a coming American match for Alfred Hitchcock" (10/12/41)
Huston
10/12
New York Times
1941
Time compared Falcon with films by Hitchcock and Carol Reed (10/20/41)
Hitchcock
10/20
Time
1941
Los Angeles Times (8/6/44)
8/6
Los Angeles Times
1944
11
The Postman Always Rings Twice was adapted by the French themselves in 1939
The Postman Always Rings Twice was adapted by the French themselves
1939
1943
Hotel Reserve (1944)
Hotel Reserve
12
Nino Frank, "Un nouveau genre policier: L'aventure criminelle," L'Ecran Frangais 61 (28 August, 1946), p. 14
Frank
14
61
Un nouveau genre policier: L'aventure criminelle
Hitchcock's Suspicion
Double Indemnity
Double Indemnity
13
Jean-Pierre Chartier, "Les Americains aussi font des films 'noirs,'" Revue du cinema 2 (1946), p. 67. (My transla- tion.) Hereafter noted in the text.
Chartier
67
2
Revue du cinema
14
"Hollywood's Terror Films: Do They Reflect an American State of Mind?," Commentary 2 [August 1946], pp. 132-36
132
2
Commentary
Kracauer had recently completed From Caligari to Hitler
Kracauer had recently completed From Caligari to Hitler
Telotte, pp. 4-5
4
Edward Dimendberg, Film Noir and Urban Space, Ph.D. Diss., University of California at Santa Cruz, 1992, pp. 116-63
Dimendberg
116
Film Noir and Urban Space
1992
15
Roger Leenhardt in "Six Characters in Search of auteurs," Cahiers du cinema: The 1950s, ed. Jim Hillier (Cam- bridge, MA: Harvard University Press, 1985), trans. Liz Heron, p. 37
Leenhardt
37
Six Characters in Search of auteurs
1985
16
Marcel Jean, ed., The Autobiography of Surreal- ism (New York: Viking Press, 1980)
Jean
The Autobiography of Surrealism
1980
Jose Pierre, ed., Investigating Sex. Surrealist Discussions 1928- 1932, trans. Malcom Imrie (London: Verso, 1992)
Pierre
trans. Malcom Imrie
1992
17
The New Republic (8/24/44)
8/24
The New Republic
1944
18
Louis Aragon, "On Decor," in The Shadow and Its Shadow: Surrealist Writings on Cinema, ed. Paul Hammond (London: BFI, 1978), p. 29
Aragon
On Decor
29
The Shadow and Its Shadow: Surrealist Writings on Cinema
19
Silver and Ward, p. 372.
372
Silver and Ward
20
Marcel Duhamel, "Preface," in Borde and Chaumeton, p. vii
Duhamel
Preface
vii
Borde and Chaumeton
William Wellman's Chinatown Nights. The Wellman film, however, was not released until 1929
Wellman
The Wellman film
1929
21
Onirique, insolite, erotique, ambivalent, et cruel
22
Angela Carter, The Sadeian Woman (New York: Pantheon, 1979)
Carter
The Sadeian Woman
1979
John Dahl's The Last Seduction (1994)
Dahl
The Last Seduction
23
Sharon Stone's comments to a reporter about the role she played in Basic Instinct (1992)
Stone
Comments to a reporter about the role she played in Basic Instinct
Parade Magazine (January 30, 1994), p. 10
10
Parade Magazine
24
Roy Hoopes, Cain: The Biography of James M. Cain (New York: Holt, Rinehart and Winston, 1982), p. xiii
Hoopes
xiii
The Biography of James
1982
25
Hillier, p. 8
8
26
Diane Johnson, Dashiell Hammett: A Life (New York: Random House, 1983), p. 322, n. 7
Johnson
322
Dashiell Hammett: A Life
1983
Perry Miller, "Europe's Faith in American Fiction," At- lantic Monthly (December 1951), pp. 50-56
Miller
50
Atlantic Monthly
27
Hoopes, p. xiv
xiv
28
Tony Judt, Past Imperfect: French Intellectuals, 1944-1956 (Berkeley, CA: University of California Press, 1992)
Judt
French Intellectuals, 1944-1956
1992
29
Jean-Paul Sartre, "The Situation of the Writer in 1947," in What Is Literature?, trans. Bernard Frechtman (New York: Washington Square Press, 1966), p. 156. Hereafter noted in the text.
Sartre
The Situation of the Writer in 1947
156
What Is Literature?, trans. Bernard Frechtman
1966
30
Dana Polan, Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950 (New York: Columbia University Press, 1986), p. 252
Polan
252
History, Narrative, and the American Cinema, 1940-1950
1986
31
Robert Denoon Cumming's introduction to The Philoso- phy ofJean-Paul Sartre (New York: The Modem Library, 1966), pp. 3-47
Denoon
3
The Philosophy ofJean-Paul Sartre
1966
32
"Rediscover- ing America," in Hillier, ed., p. 91
Hillier
91
Rediscovering America
33
Claude-Edmonde Magny, The Age of the American Novel: The Film Aesthetic of Fiction Between the Two Wars, trans. Eleanor Hochman (New York: Ungar, 1972)
Magny
The Age of the American Novel: The Film Aesthetic of Fiction Between the Two Wars, trans
1972
1950s
34
Dudley Andrew, "Breathless: Old As New," in Breathless, ed. Dudley Andrew (Rutgers, N.J.: Rutgers University Press, 1987), pp. 3-20
Andrew
Breathless: Old As New
3
Breathless
1987
35
Leighton Grist, "Moving Targets and Black Widows: Film Noir in Modern Hollywood," in The Book of Film Noir, ed. Ian Cameron (New York: Continuum, 1993), p. 267
Grist
Moving Targets and Black Widows: Film Noir in Modern Hollywood
267
The Book of Film Noir
1993
36
Jonathan Rosenbaum, "Allusion Profusion," Chicago Reader (October 21, 1994), pp. 12, 25-26
Rosenbaum
12
Chicago Reader
37
Fredric Jameson, Postmodernism: Or, the Cultural Logic of Late Capitalism (Durham, N.C.: Duke University Press, 1991)
Jameson
The Cultural Logic of Late Capitalism
1991
Marcia Landy and Lucy Fischer, "Dead Again or A-Live Again: Postmodern or Postmor- tem?," Cinema Journal, vol. 33, no. 4 (Summer 1994), pp. 3-2210.2307/1225896
3
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