More Than Night: Film Noir in Its Contexts

Technicolor, 170, 186, 300n8; first suspense film in, 187-89; preservation of prints made in, 302n25

Techniques, cinematic. See Cinematography techniques; Photography techniques Television, 259-60; color, 186; cult shows, 256; films made for, 7, 38; news conference scene, 134-35; parodies of noir on, 197, 212-14, 213 (fig.); photography, 190; rise of color films and, 186

Television programs. See Film and Broadcast Index Television, videos for home. See DTVs Telotte, J. P., 5

'Terror films,' American, 282n18 Theaters:

movie rental costs to, 140; revival, 28, 136-37.

See also Distribution systems; Underground cinema, American Theory of Film Practice (Burch), 30 The Thin Man (Hammett), 54-55, 56, 63 The Third Man (Greene), 237; film analysis, 76-77, 80-81 Thomas, Daniela, 233 Thompson, Jim, 160, 164, 216, 286n4 Thomson, Peggy, 262 Thorin, Donald, 193

Thornton, Billy Bob, 270-73, 271 (fig.) Thrillers:

art, 48, 156-58, 160, 166, 270; budgets of, 156, 157, 160, 270; cable network, 163; contemporary American, 261-67; early color, 187-89, 191; erotic, 156-59, 162;

European English-language, 203, 207-8; hybrid, 267-76, 305n13;

Latin American, 28, 232.

See also 'B' pictures Tierney, Gene, 186-87, 226 Titles, film. See Film and Broadcast Index Torture. See Sadism; Violence Toughness, literary, 23 -24, 44, 83, 236; in detective stories, 49-50 Tourism, noir, 257, 292n63 Tourneur, Jacques, 143, 175, 202 Towne, Robert, 205-6 Tragedy:

American, 83;

Greek, 133;

revenge dramas, 69-70, 72 Travolta, John, 215-19, 217 (fig.), 232, 245 Trenchcoats. See Costumes, men's Trese, Adam, 268 Trevor, Claire, 174, 198 The Trial (Kafka), 44

Trilling, Lionel, 210 Truffaut, Francois, 26, 27, 38, 202; interview of Hitchcock, 187, 189 Trumbo, Dalton, 125, 128, 131 Turner, Ted, 161, 302n25 'The Turn of the Screw' (James), 46, 287n16 Tuska, John, 124

TV series. See Television; Film and Broadcast Index Tweed, Shannon, 162, 163

U

Ulmer, Edgar G., 28, 125, 144, 298n17 Ulysses (Joyce), 44-45 Underground cinema, American, 28, 297n5; the idea of, 137-38, 142, 216

Underworld, musicals about the, 198-200, 199 (fig.), 200, 303n33 Unionization, industrywide, 123 U.S. Navy; 170; censorship by the, 108-9, 110 Upside down scenes, 154, 155 (fig.), 269 Urban crime themes, 28, 214, 244-46 Urban development, forms of, 169, 232 Urban settings: dark, 171, 181 (figs.), 232; deserted, 249;

diners, 23, 145, 179 (fig.), 193; exterior, 119, 181 (figs.), 249; interior, 18, 84, 86, 88, 119;

Latinization of, 232; neighborhood, 250, 253; nightmarish images of, 35-36, 44-45;

sewer scenes, 79, 80 (fig.), 173; wet streets, 9, 173, 181 (fig.).

See also names of cities Urban-vigilante movies, 35; rogue-cop, 128, 246-47 Ursini, James, 4 Usukawa, Saeko, 262

V

Valentine, Joseph, 187 Valentine, Paul, 178, 179 (figs.)

Valli, Alida, 77 Values:

acceptance of modernist, 47-48; inversion of capitalist and puritan, 22; outlaw morality, 20; unintelligible ethical, 54, 135.

See also Morality Van Peebles, Melvin, 243-44 Verhoeven, Paul, 264 Vernet, Marc, 101 Versions of films:

with alternate endings, 81-82, 91-93, 94 (figs.), 95, 121-22; audience-influenced, 263-64;

'director's cut,' 162-63, 264.

See also Distribution systems Vertically integrated studios, 141 Veterans, war:

films about troubled, 107-14, 114-23, 126-27; psychotic, 34-35

Vian, Boris, 11, 27;

J'rai cracher sur vos tombes by, 12-13, 280n6 Video stores:

'director's cut' versions

for, 162-63, 264;

movies just for, 38, 161-63, 164-65 Vienna, postwar, 77, 79 Vietnam War:

films associated with, 33, 34, 209; liberal Hollywood treatments of, 127 The Village Voice, 32, 154 Villains:

aesthetes as, 99, 222, 254;

femininity of, 60;

homosexuality of, 99, 151;

lighting from below faces of, 173, 183 (figs.), 193;

Nazi, 99, 102.

See also Femmes fatales; Killers Vineland (Pynchon), 265-66 Violence, 102-3, 114-15;

beatings and torture, 20, 21-22, 53, 57, 63, 74, 110-11, 114-15, 127, 144, 204, 207-8;

censorship of, 57, 102, 110-11, 293n8;

and concentration camp footage, 102;

deaths and murders, 20, 71-72, 80, 115, 127, 147, 205, 207;

eroticized, 20, 22, 30, 283n28;

fight scenes, 24, 103, 158, 217;

'hilarious homicide' movies, 56; interracial, 116-17, 245, 249; lynch-mob, 126-27;

man-woman, 152, 158, 182, 185 (figs.), 204; offscreen, 111, 127; police, 247;

political and international, 34, 102; in propaganda films, 102, 225; and sexual repression, 34-35; wartime and postwar, 102-3.

See also Sadism; Sexuality and violence Visual traits of film noir: archetypical images, 168-69; and iconography, 168-69, 273-74, 275, 305n10.

See also Cinematography techniques; Conventions, film-noir; Lighting Vogue magazine, 106 Voyeurism, 182, 184 (fig.), 207, 264

W

Wachowski, Larry and Andy, 266 'Waldorf Declaration,' 123 Walken, Christopher, 217 Walsh, Rodolfo J., 28 Wang, Wayne, 228, 305n10 Ward, Elizabeth, 9-10, 103, 261 Warner Brothers, 100; realistic gangster pictures, 55- 56, 57, 60 Wars, depictions of, 33-34, 127, 209 Washington, Denzel, 246, 249-53, 251 (fig.)

The Waste Land (Eliot), 35, 44, 53, 66, 285n48, 289n37

Wasteland settings, 75, 127, 148, 150

Water, reflections in, 9, 173, 181 (fig.), 193

Watts neighborhood, 250, 253

Wayne, John, 20, 127, 287n16

Webb, Clifton, 222, 262

Webb, Jack, 200, 260

Webster, John, 70

Weimar Germany, 42, 45, 88, 144, 292n62 Welles, Orson, 3, 190, 214; advice from, 219;

Citizen Kane, 4, 13, 26, 47, 77, 125, 132; and the FBI, 130;

Heart of Darkness adaptation, 237-39, 306n19; influence of, 154, 165; innovations by, 160;

The Lady from Shanghai, 36 (fig.), 38, 158, 201, 209, 226, 230, 231, 261, 294n21; in The ThirdMan, 76-77, 79 (fig.), 291n48; unproduced films by, 160, 165,237-39