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The first edition of 'Women in Film Noir' (1978) assembled a group of scholars and critics committed to understanding the cinema in terms of gender, sexuality, politics, psychoanalysis and semiotics. This edition is expanded to include further essays which reflect the renewed interest in Film Noir. Exploring 'neo-noir', postmodernism and other contemporary trends, new essays offer readings of, among others, 'Bound' and 'Basic Instinct', broadening the scope of the book to include questions of race and homosexuality.
"The femme Fatale takes a long view on the figure of the femme fatale, exploring her style, language, and stories from silent cinema to contemporary television. Author Julie Grossman provides a history of some of this dynamic figure's eruptions in film, TV, and culture generally, exploring the notions of female ambition, frustration, and intelligence that undergird the power and fascination of the femme fatale across time and media. We see how the fatal woman often mediates contradictory views on women's lives and their desire to gain fulfillment in a hostile or otherwise challenging environment. Embodied by some of the most charismatic female performers in Hollywood history, from Theda Bara and Barbara Stanwyck to Hedy Lamarr, Reese Witherspoon, and Jodie Comer and Sandra Oh, the femme fatale remains an active source of pleasure and subversion. Femmes Fatales pays particular attention to performance not only as a prominent feature of these works' production-established in part through references to studio press books and popular reviews--but also as a theme within the narrative (in, for example, the idea of the deceitful, untrustworthy, or "performing" woman). Focusing on expressive moments and scenes in texts that are celebrated and also those that are lesser known, this volume attends to the variety, trauma, wit, and transgressions of the femme fatale, emphasizing how this figure continually provokes us to reflect on rigid conventions and social roles. Femmes Fatales generates questions and analysis that speak to why stories about gender and criminality featuring tough and smart women are so endlessly thrilling"--
The endangered and dangerous female figures of "Rebecca", of "Jagged Edge" and "What Lies Beneath" have a deserved and endures fascination. Helen Hanson re-examines these gothic heroines of Hollywood and their meanings, in two of Hollywood's key generic cycles, film noir and the female gothic film. Starting at the beginning, with the origin of these cycles and the ways in which they represented women in the American film industry and culture of the 1940s, she traces their revival in neo-noir and neo-gothic films from the 1980s to the present. She also places the female figures of the femme fatale, female investigator and gothic heroine within the shifting contexts of the film industry and debates in feminist film criticism. Hanson examines a wide range of films from both periods, including 'Suspicion', 'Gaslight' and 'Pacific Heights', and gives particular attention to their presentation of female stories, actions and perspectives. She reveals a diversity of female figures, representations and actions in film noir and the female gothic film, and argues that these women are part of a negotiation of female identities, desires and roles across a long historical period. "Hollywood Heroines" therefore offers us new ways of thinking about classic and contemporary Hollywood heroines, and about the interrelationships of gender and genre.
A Companion to Film Noir by Andre Spicer,Helen Hanson Pdf
An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels. Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas Includes contributions from both established and emerging scholars
Though often thought of as primarily a male vehicle, the film noir offered some of the most complex female roles of any movies of the 1940s and 1950s. Stars such as Barbara Stanwyck, Gene Tierney and Joan Crawford produced some of their finest performances in noir movies, while such lesser known actresses as Peggie Castle, Hope Emerson and Helen Walker made a lasting impression with their roles in the genre. These six women and 43 others who were most frequently featured in films noirs are profiled here, focusing primarily on their work in the genre and its impact on their careers. A filmography of all noir appearances is provided for each actress.
What happens when white people look at non-whites? What happens when the gaze is returned? Looking for the Other responds to criticisms leveled at white feminist film theory of the 1970s and 1980s for its neglect of issues to do with race. It focuses attention on the male gaze across cultures, as illustrated by women filmmakers of color whose films deal with travel. Looking relations are determined by history, tradition, myth; by national identity, power hierarchies, politics, economics, geographical and other environment. Travel implicitly involves looking at, and looking relations with, peoples different from oneself. Featured films include Birth of a Nation, The Cat People, Home of the Brave, Black Narcissus, Chocolat, and Warrior Marks. Featured filmmakers include D.W.Griffith, Jacques Tourneur, Michael Powell, Julie Dash, Pratibha Parmar, Trinh T. Min-ha, and Claire Denis.
Film Noir Style: The Killer 1940s looks at the fashions of the femmes fatales who were so good at being bad, and the suits and trench coats of definitive noir actors such as Humphrey Bogart and Alan Ladd. Film and fashion historian Kimberly Truhler explores twenty definitive film noir titles from 1941 to 1950 and traces the evolution of popular fashion in the decade of the '40s, the impact of World War II on home-front fashion, and the influence of the film noir genre on popular fashion then and now. Meet not only the fabulous women of noir, including Betty Grable, Veronica Lake, Gene Tierney, Lauren Bacall, Barbara Stanwyck, Ava Gardner, and many others, but also the costume designers that created and recreated these famous stars as killers—and worse—through the clothes they wore.
The author of Dark City: The Lost World of Film Noir introduces readers to the genre's sizzling femme fatales, from Jane Greer and Claire Trevor to Ann Savage and Evelyn Keyes. Reprint.
Rethinking the Femme Fatale in Film Noir by J. Grossman Pdf
In the context of nineteenth-century Victorinoir and close readings of original-cycle film noir, Julie Grossman argues that the presence of the "femme fatale" figure, as she is understood in film criticism and popular culture, is drastically over-emphasized and has helped to sustain cultural obsessions with "bad" women.
Both film noir and the Weimar street film hold a continuing fascination for film spectators and film theorists alike. The female characters, especially the alluring femmes fatales, remain a focus for critical and popular attention. In the tradition of such attention, Dangerous Dames focuses on the femme fatale and her antithesis, the femme attrapée. Unlike most theorists, Jans Wager examines these archetypes from the perspective of the female spectator and rejects the persistence of vision that allows a reading of these female characters only as representations of unstable postwar masculinity. Professor Wager suggests that the woman in the audience has always seen and understood these characters as representations of a complex aspect of her existence. Dangerous Dames looks at the Weimar street films The Street, Variety, Asphalt, and M and the film noir movies The Maltese Falcon, Gun Crazy, and The Big Heat. This book opens the doors to spectators and theorists alike, suggesting cinematic pleasures outside the bounds of accepted readings and beyond the narrow categorization of film noir and the Weimar street film as masculine forms.
Postfeminism and the Fatale Figure in Neo-Noir Cinema by Samantha Lindop Pdf
This book is a thought-provoking study that expands on film scholarship on noir and feminist scholarship on postfeminism, subjectivity, and representation to provide an inclusive, sophisticated, and up-to-date analysis of the femme fatale , fille fatale , and homme fatal from the classic era through to recent postmillennial neo-noir .
Author : Jans B. Wager Publisher : University of Texas Press Page : 203 pages File Size : 53,7 Mb Release : 2009-03-06 Category : Performing Arts ISBN : 9780292773875
With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Following introductory chapters that establish the theoretical basis of her arguments, Wager engages in close readings of the classic noirs The Killers, Out of the Past, and Kiss Me Deadly and the contemporary noirs L. A. Confidential, Mulholland Falls, Fight Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films into retro-noirs (made in the present, but set in the 1940s and 1950s) and neo-noirs (made and set in the present but referring to classic noir narratively or stylistically). Going beyond previous studies of noir, her perceptive readings of these films reveal that retro-noirs fulfill a reactionary social function, looking back nostalgically to outdated gender roles and racial relations, while neo-noirs often offer more revisionary representations of women, though not necessarily of people of color.
Kiss the Blood Off My Hands by Robert Miklitsch Pdf
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. In Kiss the Blood Off My Hands: On Classic Film Noir, Robert Miklitsch curates a bold collection of essays that reassesses the genre's iconic style, history, and themes. Contributors analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, as well as investigate Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration unwinds the impact of hot-button topics like race and gender, history and sexuality, technology and transnationality. As bracing as a stiff drink, Kiss the Blood Off My Hands writes the future of noir scholarship in lipstick and chalk lines for film fans and scholars alike.
