More Than Night: Film Noir in Its Contexts

Fussell, Paul, 33

G

Gabin, Jean, 25

Gallagher, Peter, 257, 268-70, 269 (fig.) Gambling themes, 268-70 'Gangsta' films, 246 Gangster films, 18, 19, 55-56 Garfield, John, 124, 125 Gargan, William, 143-44 Garrett, Oliver H. P., 55 Gas chamber execution, 292n67; in Double Indemnity, 81-82, 91-93, 94 (figs.), 95 Gast, Michel, 12

Gaze:

of black characters, 238-39; the voyeuristic, 182, 184 (fig.), 207, 221, 264 Genette, Gerard, 196 Genre construction: antigenre and, 22; and cognitive theory, 5-6; discursive, 276-77; problems, 10, 124; self-conscious, 7, 160, 257, 274 'Genre function,' 11

Genres, fiction. See Detective stories; Novels, American; Pulp Fiction, American German characters, Nazi, 73, 99, 102, 231 German cinema, 44, 45, 202, 203; pre-cursors of noir films, 15, 88, 282n15, 303n35 German expressionism, 33, 192 Gibson, William, 255 Gide, Andre, 23 Gifford, Barry, 273 Ginsberg, Henry, 108

'Girl-Hunt Ballet,' Band Wagon, 198-200, 199 (fig.)

The Glass Key (Hammett), 53-54, 57, 214; films based on, 63, 67

Godard, Jean Luc, 26, 27, 38, 137, 202, 218, 283n30

Goldin, Marilyn, 289n39

Goldsmith, Jerry, 206

Goldsmith, Martin, 145

Goodis, David, 28

Goodwin, Betty, 197 Gould, Elliot, 203-4, 205 Government agencies: censorship by, 102, 105, 108-9, 110, 234; required respect for, 96-97.

See also Censorship, motion-picture Grahame, Gloria, 20, 56, 119, 122, 128, 230, 242 Granger, Farley, 188 Grant, Cary, 198

The Great Gatsby (Fitzgerald), 286n7, 289n37 Green, Guy, 170 Greenberg, Joel, 124 Greene, Graham, 45, 63-81 passim; anti-Semitism of, 65-66; on childhood reading, 291 n51; film criticism by, 66-69;

Hollywood adaptations of, 72-74; literary sources of, 70-71, 290n42; religion and politics of, 66, 75-76, 289n33; screenplays by, 75-82; thriller 'entertainments,' 64-65 Greene, Graham, novels by:

Brighton Rock, 70-72, 75-76;

The Confidential Agent, 74;

A Gun for Sale, 65, 66, 70, 72-73, 290n45; Ministry of Fear, 63-64, 65, 74, 290n47, 291n51; Stambol Train, 64 'Greeneland,' 65, 66, 74, 77 Greenstreet, Sydney, 60, 61

Greenwald, Maggie, 160, 223

Greer, Jane: in Out of the Past, 1, 175, 177 (figs.), 178, 180 (figs.), 184-85 (figs.), 202, 231

Gris, film, 124

Group Theater, 103

Guilt themes, 206, 207, 247

Gruitry, Sacha, 16

A Gun for Sale (Greene), 65, 66, 70, 72-73, 290n45 Gunning, Tom, 170, 300n7

H

Hammett, Dashiell, 23, 48-63 passim, 130, 198, 221;

Asian themes in writings of, 225; dialogue by, 63;

early films from novels by, 55-57, 58 (fig.), 59 (figs.), 222;

Hammett film about, 192, 203; literary imitations of, 288n30; as a scriptwriter, 55;

TV show from novels by, 259-60; walking tour honoring, 257; on women readers, 287n12; writing and dialogue by, 1, 50, 61, 288n31 Hammett, Dashiell, novels by:

The Glass Key, 53-54, 57, 63, 67, 214;

The Maltese Falcon, 52-53, 60-61, 63, 214, 254;

Red Harvest, 49-50, 51, 69, 214, 289n39, 290n40;

The Thin Man, 54-55, 56, 62, 63 Hammond, Paul, 282n22 Hanson, Curtis, 275

Hard-boiled fiction, 1, 27, 44, 50-51, 52-54, 83, 172, 286n4; black people in, 233-35, 249;

short stories, 215-16, 218.

See also Dialogue; Toughness, literary Hard-Boiled (Thomson and Usukawa), 262 Harlan, Russell, 150 Harris, Theresa, 240 (fig.)

Hartley, Hal, 254, 267

The Harvard Lampoon, 297n7

Harvey, Laurence, 133, 134 (fig.)

Harvey, Sylvia, 304n2

Haskell, Molly, 31-32

Hass, Robert, 60

Hawks, Howard, 138

Hayden, Sterling, 129-30, 131 (fig.), 204

Hays, Will, 96, 98, 100

Hayward, Susan, 292n67

Hayworth, Rita, 36 (fig.), 38, 226, 231

HBO cable network, 163

HDTV (high-definition color TV), 194

Heart of Darkness (Conrad), 43, 47-48, 64, 72, 76, 77, 210;

Welles's adaptation of, 237-39, 306n19 Heather, Jean, 89 Hecht, Ben, 47 Heflin, Van, 99 Hegeland, Brian, 275 Hellinger, Mark, 267 Hellman, Lillian, 53 Hemingway, Ernest, 23, 27, 44 Hendrix, Wanda, 74

Heroes and protagonists, 20, 34-35, 73, 84, 132, 152, 202, 206, 216, 217 (fig.), 22223, 240-41, 242-53, 242 (fig.), 243 (fig.), 245 (fig.), 251 (fig.), 264, 268-70, 275, 276;

criminals as, 128-30, 150-51;

existential, 25-26, 148.

See also Criminals; Detective films

Heroines and protagonists, 20, 43, 89, 91 (fig.), 133-34, 199 (fig.), 222, 223, 256, 263-64, 265, 266.

See also Femmes fatales

Herrmann, Bernard, 1, 36, 255

High modernism:

cultural assimilation of, 7;

generalizations about, 41-45;

and socialism, 64, 289n33.

See also Modernism, literary

The High Priest of California (Willeford), 286n4

The High Window (Chandler), 225-26, 235

Higham, Charles, 124

'Hilarious homicide' pictures, 56-57

Hill, Walter, 259, 290n40

Himes, Chester, 235-36, 243-44, 246 History of the idea of film noir: and American politics after 1947, 123- 35; among American intellectuals, 28, 31-34; and Durgnat's 'family tree,' 6, 30-31; first (or historical) age of, 11-27, 135, 211;

French invention of American, 10, 13, 15, 27, 38, 138, 203, 261;

as a genre, 210, 261, 276-77, 279-80n1;

as a genre in demise, 21, 22, 199-200, 210, 284n35;