See also Asian themes and characters Ortega y Gasset, Jose, 42 Orwell, George, 41, 63, 290 Oscars. See Academy Award pictures 'Others,' 12;
half-caste women, 226, 251, 252; homosexuals, 221-23; noir protagonists and, 220; stereotyped Asians, 227; stereotyped blacks, 237, 239, 243; white world, 250.
See also Class; Women; names of specific ethnic and minority groups
'Others,' films by. See African-American directors; Asians, films directed by; Latin Americans
Outlaw lovers, 128, 150-51, 193, 210 The Outsider (Wright), 235, 236
P Pacino, Al, 233
Painting with Light (Alton) 172-74, 301n18 Paintings, black and white modern, 171 Palmer, R. Barton, 13, 223, 265, 281
Panorama du film noir americain (Borde and Chaumeton), 4, 18-22, 33, 40, 73, 100, 104, 168, 186, 199-200, 226, 275, 284n43
Panorama journal, 18, 19, 21, 22, 283n26
Paperbacks, mass-market. See Pulp fiction, American
Paramount Pictures, 55, 57, 73, 108;
home office, 86
Paris, France:
1946-1959, 11-27, 284n36;
African-American writers in, 236.
See also French intellectual culture Parker, Robert B., 260 Parks, Gordon, 243-44 Parodies of noir, 197, 198-200; cartoon, 200, 212; comic, 196, 217-18; original pictures seen as, 21; and self- parodies, 201, 303n34 Parody, definitions of, 196, 200-201, 302n31 Parrish, Leslie, 134 Passer, Ivan, 302n27 Passing, racial, 12, 250-51, 252, 306n29 Past:
black-and-white as signifier of the, 194; the missing, 211; superficial uses of the, 275.
See also Nostalgia Pastiche, 214-15, 266, 273-75; definition of, 211, 302n31.
See also Parody, definitions of Patriarchy, and independent women, 221.
See also Feminist film criticism Paxinou, Katina, 74 Paxton, John, 115-23 passim
PCA (Production Code Administration) censorship, 57, 76, 128; Double Indemnity challenges to, 82 Peploe, Claire, 223
Pereira, Hal, 86 Peret, Benjamin, 19
Periodization of film noir, 10, 19, 280n2 Peterson, Caleb, 240 (fig.)
Peterson, Lowell, 167, 175 Petty, Lori, 247 Phipps, William, 121 Phoenix, Arizona, 127
Photography techniques, 205, 238-39, 299n3; back projection, 148; camera perspective, 174;
close-ups, 60, 73, 147 (fig.), 148, 172, 193, 208, 303n37; daytime exterior, 301n20; deep-focus compositions, 18, 60, 154, 174, 186; depth of field, 299n3; in Falcon, 60-61;
John Alton's, 172-74, 301n18; low-angle, 60, 73, 186-87, 248; low-key, 9, 208, 271, 272; off-center compositions, 174; outdoor, 172;
parody or pastiche of, 214, 215;
shift from black-and-white to color, 169-96 passim;
somber color, 191-92;
street, 9,
158, 171, 172, 173; tilted camera, 77;
Welles's Heart of Darkness script, 238-39; wide-angle, 142, 154, 174, 248.
See also Cinematography techniques Picasso, Pablo, 170 Pinup girls, 'B' -movie, 29, 153 Place, Janey 167, 175, 304n2 Playboy Films, 162 Playboy male, 153, 154 (fig.)
Plots. See Stories and plot structures, noir Poe, Edgar Allan, 255 Poetic realism, 68, 289n39 Polan, Dana, 150
Polanski, Roman: and Chinatown, 205-10 passim, 209 (fig.), 303n37
Police procedurals, 3, 127, 142-43, 190, 260
Police:
and corruption themes, 204, 212, 227, 235, 247; requiring respect for, 111, 129, 234; as rogue-cops, 128, 246-47 Policier (police story), 16, 116, 226-27, 282n16; black themes, 245-46;
French GrandPrix for, 236.
See also Crime melodramas Political themes, 33, 133; anticommunism, 127, 295n29; antifascism, 102, 103, 105, 115, 125, 131; black nationalism, 243-44, 246;
civil rights, 226;
New Deal populism, 103, 104, 106, 120; pro-democracy, 73.
See also Depoliticization of noir Politicians. See Public officials Politics, American: after 1947, 34, 123-35;
Democrats, 104, 132-33;
and fear of communism, 123, 132, 133, 135;
and liberals, 103-5, 127, 132-33;
New Deal populism, 103, 104, 106, 120;
Red generation of the 1940s, 131.
See also Left-wing community; Senate investigations Politics in Europe, 289n33;
Marxism, 23, 206; socialism, 64.
See also Communism; Popular Front culture Politics in the film community: after 1947, 34, 123-35; control over, 103-7, 294n13.
See also Blacklist, the; Censorship, motion-picture; Depoliticization of noir Pollack, Sydney, 259 Pollock, Jackson, 171, 300n14 Polonsky, Abraham, 124, 125, 131 Pope, Angela, 223 Pope, Frank, 266 Popular culture:
criticism of, 64, 67, 153-54 (fig.); evolution of, 210-11;
satires of, 258.
See also Consumerism; Mass culture Popular Front culture, 103, 104, 106, 294n12; and French films, 15, 16, 17-18, 69 Population change, urban, 232
Pornography, themes of, 152, 158, 161, 162, 247, 264, 274. See also Eroticism, noir
Portrait of the Artist as a Young Man (Joyce), 285n48 Positif journal, 18, 19, 282n23, 284n36, 298n14 Post-'B' pictures, 155-66 Posters, film, 36 (fig.), 62 (fig.)
'Postfemme fatale,' 265
The Postman Always Rings Twice (Cain), 23, 83, 84, 92 Postmodern culture, 169, 210, 211, 218, 285n52, 305n13; the emergence of, 137-18, 210; film noir as the creation of, 10, 39, 255-56; images of film noir, 36 (fig.), 37 (fig.), 38-39; the noir mediascape in, 254-67 Postmodern genre, self-conscious, 7, 160, 257, 274 Poststructuralism, 160 Postwar eras, 23-24, 44; in America, 123-35; in France, 13, 155; in Vienna, 77, 79; and violence, 102-3 Potter, Dennis, 196 Pound, Ezra, 44 POV shots, 302n29; whites and blacks face-to-face, 238-39 Poverty Row studios, 140-41, 162;
noir productions from, 143-44, 147-49 Poverty views of, 138-39, 150, 231, 250 Powell, Dick, 1, 198, 259, 264 Powell, Michael, 191 Powell, William, 56 PRC studio, 141, 142, 143, 144 Presskit, promotional, 36 (fig.), 38 Prevert, Jaques, 19 Priestly J. B., 64 Prism Pictures, 162
Private-eye movies, 190, 240-41, 249-53 Private-eye TV shows, 259-60 Prize-winning films, Cannes, 10.
See also Academy Award pictures Producer-distributors, 141 Production Code: objections to films noirs, 98-99; prohibitions, 96-97, 221; refusals to obey the, 100; report form, 97.
See also Breen Office; Censorship, motion-picture Production design.
