More Than Night: Film Noir in Its Contexts

themes, 35, 132-33 Left-wing community, 17-18, 23-24, 236; contributions of, 131-32, 224; in France, 15, 23- 24;

Hollywood's, 104, 105, 124; outlaw outlook of, 128;

Republican purge of, 106.

See also Blacklist, the Legrand, Gerard, 282n23 Lehman, Ernest, 132 Leigh, Janet, 133-34 Leja, Michael, 171, 300n14 Leonard, Elmore, 216, 232 Leone, Sergio, 290n40 Levene, Sam, 118

Lewis, Joseph H., 21, 143, 150-51, 156, 298n14

Lewis, Julliette, 197

Lewton, Val, 98, 139, 140

Liberal characters, 114, 115, 241

Liberal elements in Hollywood, 103-5, 132, 135

The Life of Raymond Chandler (MacShane), 82

Lighting:

Alton's book on black and white, 172-74, 301n18;

amber color, 188, 192, 302n27;

'exterior' sets, 181 (figs.);

faces from below, 173, 174, 182, 183 (figs.), 184 (fig.), 193;

fill, 178, 180 (fig.);

high-contrast, 176-77 (figs.), 299n3;

'Jimmy Valentine,' 173, 183 (figs.), 189; light-in-darkness, 173-74;

'mystery lighting,' 172-73, 182, 184-85 (figs.), 186-87, 190, 248;

neon or electric, 139, 173, 188;

power of color, 188-89;

rim light or 'liner,' 178, 180 (figs.);

spot, 118-19, 147.

See also Black-and-white film; Darkness, the central metaphor of Literature:

British, 63;

popular, 44, 64, 287n12; social-protest, 8, 235-26.

See also Modernism, literary; Novels, American

The Little Black and White Book of Film Noir (Thomson and Usukawa), 262 Locations. See Settings and locales, film-noir Lodge, David, 43 Loggins, Art, 241, 242 (fig.)

Lord, Marjorie, 144

Lorre, Peter, 60, 61, 74, 225, 259

Los Angeles:

Chandler in, 85-86;

changing demographics in, 232;

echoes of actual events in, 126, 207;

European emigres working in, 41, 144, 286n8;

film noir locales in, 107, 148, 153, 154 (fig.), 205, 215, 292n64, 292n63; modernist ambivalence toward, 82, 83-84, 85-86, 92; police departments, 247-48, 249;

Sleepy Lagoon case, 126, 230 Losey, Joseph, 124, 125, 130-31, 190, 296n34 Love and Other Infectious Diseases (Haskell), 31 Lovers, 18, 88, 99, 128, 150-51, 193, 210.

See also Sexuality Lowbrow culture:

ascribed to low-budget films, 139-40; avant-garde appreciation of, 32, 137, 218 Lubitsch, Ernst, 144 Lupino, Ida, 223, 259 Lynch, David, 267, 273-75 Lynchings, 117, 126-27 Lyne, Adrian, 263, 264 Lyotard, Jean-Francois, 261

M

MacArthur, Charles, 47 MacDonald, Edmund, 145 MacDonald, Joe, 189 Macek, Carl, 151

MacMurray, Fred: in Double lndemnity, 81-95 passim, 90 (fig.), 91 (fig.), 94 (figs.) MacShane, Frank, 85-87, 201 Mad magazine, 258 Madow, Ben, 129

Magazines, pulp. See Pulp fiction, American Magny, Claude-Edmonde, 26 Mailer, Norman, 240

Mainwaring, Daniel, 202 Male Experience, Voice of, 50-51 Male myths, 61, 211, 288n29; celebration of, 216- 17; of culture as feminine, 43-44, 89; and urban darkness, 171.

See also Heroes and protagonists; Men, white Mallarme, Stephane, 42 Malraux, Andre, 23

The Maltese Falcon (Hammett), 51, 52-53, 57, 60-61, 63, 214, 254, 255

Maltese Falcon statuette, 254, 255

Malz, Albert, 73, 104, 131, 290n46

Mamet, David, 263

Mamoulian, Rouben, 55

Mankiewicz, Herman, 47, 108

Mann, Anthony, 142, 143, 173

Marcus, Stephen, 54 Marketing and advertising, 205, 209; of 'A' and 'B' pictures, 141-42; ofDTVs, 161-62; film noir, 220, 256;

of films and video-release versions, 264; niches filled by film noir, 8, 266, 267, 276; noir images in, 37 (fig.), 38-39; postmodern, 266, 307n9;

and success of films noirs, 32, 56, 62, 63, 263, 267 Markowitz, Barry, 271 Marsh, Joseph, 103 Martial arts, Asian, 226, 228 Marxism, 23, 206, 289n33 Masculinity:

of African-American heroes, 244; of the proletariat, 99, 222; psychodynamics of, 60, 61, 221, 223; threats to normative, 222, 264.

See also Homosexuality; Male myths Mass camp, 261-62 Mass culture: affection for, 218; anonymity, in, 88-89, 90 (fig.); camp sensibility in, 261-62; color illustrations of, 169, 172; hostility of high modernism to, 44, 83-89, 292n62; structural relations between modernism and, 47-48;

trash, 216-17; trivia, 255.

See also Consumerism; Popular culture Mass production, 84-85.

See also Fordism; Mass culture; Taylorism Mate, Rudolph, 201, 299n25 Mature, Victor, 226 McBain, Ed (Evan Hunter), 227 McCarthy-era Senate investigations, 105, 122, 123 McGavin, Darren, 260 McIntire, John, 129 Medak, Peter, 266 Mediascape, the noir, 254-67; cable television, 163-64, 257; circulation and transformation in, 257-67; comic books, 256-57;

of contemporary American thrillers, 261-67; pervasiveness of, 38; radio, 259;

television, 256, 259-60 Meeker, Ralph, 152-53, 154 (fig.), 242 (fig.) Melodrama, 77;

'blood melodrama,' 45, 48, 69, 216; gray, 124;

high modernism and Hollywood, 48; and modernist art, 45-46, 53-54, 81; opera-style, 83 Men, white, 50-51; audiences as middle-class, 161, 276;

as playboys, 153, 154 (fig.);

POV shots for, 238-39;

pulp fiction for, 44, 46, 49-50, 161;

as spectators, 161, 276;

voyeuristic gaze of, 182, 184 (fig.), 207, 221, 264; as 'White Negroes,' 240-41, 242 (fig.).

See also 'Others'; names of specific ethnic and minority groups Mencken, H. L., 51, 52, 291n55

Men's friendships, 77, 79, 89-90, 217 (fig.), 221-22, 241-42.

See also Homosexuality Men's violence. See Violence Merleau-Ponty, Maurice, 284n37 Metafilm, Exterior Night as a, 194-96, 195 (fig.), 196 Metty, Russell, 190 Metz, Christian, 96, 99-100, 118 Mexico. See Latin America Mez, Johnny, 194-96, 195 (fig.)

MGM, 56, 141 'Miami noir,' 232 Middlebrow culture: elevating lowbrow art over, 32, 137; opposition to