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Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

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IV. Semiotic Analysis of Key Noir Movies.................................................................. 252<br />

1 From a Semiotic Perspective .....................................................................................252<br />

2 The Universe of Motifs and Symbols in Film Noir................................................... 267<br />

2.1 Fritz Lang............................................................................................................ 268<br />

2.1.1 Scarlet Street (1945) and Rejecting the Mun<strong>da</strong>ne....................................... 272<br />

2.1.1.1 Kitchen Ammunition: Aprons, Ice-picks & Emasculation.......................... 274<br />

2.1.1.2 Against the Clock ........................................................................................ 279<br />

2.1.1.3 Paintings, Portraits, Mirrors: the Noir Triptych .......................................... 288<br />

2.1.1.4 Conclusion................................................................................................... 297<br />

2.2 Robert Siodmak .................................................................................................. 300<br />

2.2.1 The Spiral Staircase (1946) and the Gothic Noir........................................ 307<br />

2.2.1.1 Voyeurism and Entrapment......................................................................... 310<br />

2.2.1.2 The “Optical Unconscious” Camera-Eye.................................................... 315<br />

2.2.1.3 The Noir Staircase: The Metonymic Lens .................................................. 322<br />

2.2.1.4 Conclusion................................................................................................... 332<br />

2.3 Jacques Tourneur ................................................................................................ 339<br />

2.3.1 Out of the Past (1947) and Obsession? ...................................................... 344<br />

2.3.1.1 Modes and Subverted Uses of the Flashback .............................................. 350<br />

2.3.1.2 The Split Screen Effect: Mise-en-Abyme..................................................... 354<br />

2.3.1.3 Conclusion: The final (sexual) trap in Out of the Past................................ 359<br />

iii

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