More Than Night: Film Noir in Its Contexts

minority groups Concentration camp newsreels, 102, 191 Condon, Richard, 132

Congress. See HUAC (House Un-American Activities Committee); Senate investigations

Conrad, Joseph, 46, 68;

Heart of Darkness by, 43, 47-48, 64, 72, 76, 210 Consumerism:

film depictions of, 89, 90 (fig.), 153, 268; and postmodern spectatorship, 210, 211, 275-76.

See also Capitalism; Mass culture Containment or huis- clos theme, 22, 284n43 Contract killers, 158-59 (fig.), 217 (fig.)

Controversial films. See Censorship, motion-picture

Conventions, film-noir, 1-2, 20, 21, 124, 166, 168-69, 201-2, 204, 214, 219, 305n10; as camp, 261-62; ideal surrealist, 274, 275; varied appropriation of, 166, 267, 273-74, 275.

See also Allusions; Visual traits of film noir Cook, Elisha, Jr., 60-61, 207

'Cool,' 240-41 Cooper, Gary, 55, 58 (fig.)

Cooper, George, 118 Coppola, Francis Ford, 128 Corbett, Glenn, 226

Corruption, themes of, 113-14, 207, 210, 267; among the police, 129, 204, 212, 227, 235, 247 Cortez, Richard, 55-56, 59 (fig.)

Costume pictures, 100 Costumes, men's:

as contrast, 176 (figs.), 178, 179 (figs.); fashion noir, 198, 199 (fig.), 212; military, 118; novelists' attention to, 198; suit and hat, 58 (fig.), 59 (fig.), 145, 199 (fig.), 200; trenchcoat and hat, 176 (figs.), 178, 179 (figs.), 184 (fig.) Costumes, women's: censorship of, 101;

as contrast, 177 (figs.), 178, 179 (figs.); fashion noir, 197-98;

of femmes fatales, 89, 91 (fig.), 199 (fig.); fetishized details of, 101, 185 (fig.), 240 (fig.); pulp-style, 101, 154 (fig.), 195 (fig.).

See also Femmes fatales Cotten, Joseph, 77, 291n50 Coulouris, George, 74

Coutard, Raoul, 190-91 Crawford, Joan, 99 Credits, 154, 155 (fig.)

Creed, Barbara, 211 Crime Illustrated (magazine), 258 Crime melodramas, 203; black, 243-44, 246; low-budget, 7, 139, 144-49, 243-44.

See also Policier (police story)

Crime Suspenstories, 258 Criminals:

black and white, 241-53 passim; films about violent, 28; outlaw couples as, 150-51;

the point of view of, 20, 70, 71, 73, 93, 128, 150-51;

psychology of, 83, 102;

social levels of, 234, 241;

as sympathetic or authentic, 3, 97-98;

on television and radio, 259-61;

thieves, 3, 128, 150, 151, 193, 210, 242, 268;

urban, 28, 214, 244-46.

See also Killers Critics. See Film critics Cronenberg, David, 266 Cronenweter, Jordan, 302n27 Cronyn, Hume, 125

Crossing borders. See Borders and boundaries 'Crossing over':

into genre, 156;

to mainstream cinema, 140-41, 142, 165-66, 252, 267, 270 Crowther, Bosley, 150 Cruelty, film noir as a theater of, 21-22.

See also Sadism; Violence Cruise, Tom, 164 Cube, Ice, 247 Cukor, George, 223, 303n33 Cult films, 156, 228, 262.

See also Underground cinema, American Cult TV shows, 256 Cults and clubs, film, 21, 28, 136, 216

Culture. See French intellectual culture; Popular Front culture; Lowbrow culture; Mass culture; Popular culture; Postmodern culture

Cummins, Peggy, 150-51

Curtis, Tony, 132

D

Dall, John, 150-51, 165, 188

Daly, Carroll John, 49, 233

The Dame in the Kimono (Leff and Simmons), 82

Damon, Mark, 164-65

Daniels, Bebe, 55, 59 (fig.), 101

Danton, Ray, 261

Dark City, as a literary topos, 44-45, 53, 286n7 The Dark Knight Returns (Miller), 256 Darkness, the central metaphor of:

Anglo-Saxon discourse on, 28-37; as despair and gloom, 34;

French fascination with, 17;

and modernism, 47-48, 170-71; racial implications of, 7-8, 12-13.

See also Lighting da Silva, Howard, 111 Dassin, Jules, 30, 124, 125, 130, 296n34 Daves, Delmer, 238 Davis, Bette, 56-57 Davis, Eddie, 299n25 Davis, Mike, 207, 235-36, 286n8 Davis, Ossie, 242-43 Davis, Tamra, 160 Day, Doris, 20 Debord, Guy, 256 DeLillo, Don, 255 DeRochemont, Louis, 142-43 Derrida, Jacques, 5 De Sica, Vittorio, 25 de Toth, Andre, 264 Death. See Killers; Murder Decorations, set. See Props; Sets, film-noir Dehumanization, 42, 88, 274 DeLanda, Manuel, 267 Deming, Barbara, 105 Demme, Jonathan, 246, 266 Democrats, 104 Demographics, urban, 169, 232 DeNiro, Robert, 35 (fig.)

DePalma, Brian, 32, 263, 302n29 Depoliticalization of noir, 37, 103-4, 294n13 Depression era, 129, 130;

New Deal populism, 103, 104, 106, 120 Detective films, 259, 260; by black directors, 243-44;

Chandleresque, 18; married-couple, 56-57 Detective stories: genteel or amateur, 46, 49;

Hammett's modernization of American, 48-63 Detective TV shows, 259-60 Determinism: industrial, 88; psychological, 34, 223 The Devil Thumbs a Ride (Gifford), 273

Dialogue, 1, 21, 47, 49-51, 61, 132, 150, 202, 209, 214, 257, 262, 263, 269; Breen Office censorship of, 99, 100; in Double Indemnity, 87, 88; misogynist, 152, 245; postwar masculine, 44; racist, 245-46;

Spanish, 232-333.

See also Narration Dawara, Manthia, 246 Dimendberg, Edward, 169 Diners, urban. See Settings and locales, film-noir Directors:

Chinese-American, 228;

European films by, 130-31; famous noir, 168;

Japanese, 227-28;

Left-wing American,

104, 123-35 passim; recent, 168, 223; women, 223.

See also African-American directors; Blacklist, the 'Director's cut' videos, 162-63 Disorientation of the spectator, surrealist, 18, 21, 26 Distribution systems: for 'A' and 'B' pictures, 140-41; for alternate film versions, 162-63; cable networks, 163;

for crossover films, 140-41, 165, 166, 267;

DTV, 161-62;

Hollywood studio, 140-41; major studio, 165-66; videostore, 163, 166.

See also Theaters; Underground cinema, American Dmytryk, Edward, 115, 118, 121; and Congress, 122-23, 131 Documentaries, 19; color, 170;

photography style of, 150 Domesticity, 84, 250, 253, 268, 292n63 Doppelganger themes, 266 Dos Passos, John, 23, 24 Double feature era, 140-43 Douglas, Kirk, 182, 183 (fig.)

Douglas, Michael, 263, 264 Dr. Strangelove, 153, 297n7

Drake, Claudia, 145

Dreams. See American dream, the; Stories and plot structures, noir Drinking