For this was the summer when, after the hiatus of the Second World
War, French critics were again given the opportunity to view films
from Hollywood. The films they saw, including "The Maltese Falcon,
Double Indemnity. Laura, Murder, My Sweet," and "The Woman in the
Window," prompted the naming and theorization of a new phenomenon:
"film noir."
Much of what has been written about the genre since has remained
within the orbit of this preliminary assessment. While sympathetic
towards the early French critics, this collection of original
essays attempts to move beyond their first fascinated look.
Beginning with an autonomy of that look--of the '"poujadist"'
climate that nourished it and the imminent collapse of the
Hollywood studio system that gave it its mournful
inflection--"Shades of Noir" re-explores and calls into question
the object first constructed by it. The impetus for this shift in
perspective comes from the films themselves, viewed in the light of
contemporary social and political concerns, and from new
theoretical insights.
Several contributions analyze the re-emergence of noir in recent
years, most notably in the hybrid forms produced in the 1980s by
the merging of noir with science fiction and horror, for example
"Blade Runner" and "Angel Heart," and in films by black directors
such as "Deep Cover, Straight out of Brooklyn, A Rage in Harlem"
and "One False Move." Other essays focus on the open urban
territory in which the noir hero hides out; the office spaces in
"Chandler," and the palpable sense of waiting that fills empty
warehouses, corridors and hotel rooms.
Finally, "Shades of Noir" pays renewed attention to the lethal
relation between the sexes; to the femme fatale and the other women
in noir. As the role of women expands, the femme fatale remains
deadly, but her deadliness takes on new meanings.
Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie,
Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil,
David Reid and Jayne L. Walker, Marc Vernet, Slavoj Žižek.
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