With its focus on dangerous, determined femmes fatales, hardboiled
detectives, and crimes that almost-but-never-quite succeed, film
noir has long been popular with moviegoers and film critics alike.
Film noir was a staple of classical Hollywood filmmaking during the
years 1941-1958 and has enjoyed a resurgence in popularity since
the 1990s. Dames in the Driver's Seat offers new views of both
classical-era and contemporary noirs through the lenses of gender,
class, and race. Jans Wager analyzes how changes in film noir's
representation of women's and men's roles, class status, and racial
identities mirror changes in a culture that is now often referred
to as postmodern and postfeminist.
Following introductory chapters that establish the theoretical
basis of her arguments, Wager engages in close readings of the
classic noirs The Killers, Out of the Past, and Kiss Me Deadly and
the contemporary noirs L. A. Confidential, Mulholland Falls, Fight
Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films
into retro-noirs (made in the present, but set in the 1940s and
1950s) and neo-noirs (made and set in the present but referring to
classic noir narratively or stylistically). Going beyond previous
studies of noir, her perceptive readings of these films reveal that
retro-noirs fulfill a reactionary social function, looking back
nostalgically to outdated gender roles and racial relations, while
neo-noirs often offer more revisionary representations of women,
though not necessarily of people of color.
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