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

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Buckland, Warren (2000). The Cognitive Semiotics of Films. Cambridge: Cambridge University Press. ____________ (2003). Teach Yourself: Film Studies. London: Hodder & Stoughton, Ltd. Buhle, Paul & Wagner, Dave (2002). Radical Hollywood: The Untold Story Behind America’s Favorite Movies. New York: The New Press. Burgess, Anthony (1996). A Clockwork Orange. London: Penguin Books. Buscombe, Edward (2003). “The Idea of Genre in the American Cinema”. In Barry Keith Grant, ed., Film Genre III, Austin: University of Texas Press, pp. 12-26. Buss, Robin (2001). French Film Noir. London: Marion Boyars. Butler, David (2002). Jazz Noir: Listening to Music from “Phantom Lady” to “The Last Seduction”. Westport, CT: Praegers Publishers. C Cain, James M.. (1989a). Mildred Pierce. New York: Knopf Doubleday Publishing Group. ____________ (1989b). Double Indemnity. New York: Knopf Doubleday Publishing Group. ____________ (1989c). The Postman Always Rings Twice. Ed. by Jeff Stone, New York: Knopf Doubleday Publishing Group. Cairns, David (2010). “Dark Mirrors: The Dual Cinema of Robert Siodmak”. In http://www.movingimagesource.us/articles/dark-mirrors-20100603. Cameron, Ian, ed. (1992). The Movie Book of Film Noir. London: Studio Vista. Carr, Jay, ed. (2002). The A List: 100 Essential Films. Cambridge, MA: Da Capo Press. Carroll, Noël (1996). Theorizing the Moving Image. New York: Cambridge University Press. Cavelti, John G. (2004). Mystery, Violence, and Popular Culture. Madison: University of Wisconsin Press. Chandler, Charlotte (2007). Ingrid Bergman: A Personal Biography. New York: Simon & Schuster. Chandler, Daniel (2007). Semiotics: The Basics. London: Routledge. Chandler, Raymond (1992a). The Big Sleep. New York: First Vintage Crime / Black Lizard edition. 416
____________ (1992b). Farewell, My Lovely. New York: First Vintage Crime / Black Lizard edition. ____________ (1995). Later Novels and Other Writings. Ed. by Frank MacShane. New York: Library of America. Chartier, Jean-Pierre (1946). “Les Américains aussi font des films noirs”. In Revue du Cinéma, nº 2. Chieza, Lorenzo (2007). Subjectivity and Otherness: A Philosophical Reading of Lacan. Cambridge, MA: MIT Press. Chopra-Gant, Mike (2006). Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. London: I.B. Publishers. Christopher, Nicholas (1997). Somewhere in the Night: Film Noir and the American City. New York: Henry Holt and Company, Inc. Cochran, David (2000). America Noir: Underground Writers and Filmmakers of the Postwar Era. Washington D.C. and London: Smithsonian Institution Press. Combs, Richard (2009). “Anatomy of a Director”. In Sight & Sound, vol. 19, April, pp. 38 - 41. Conrad, Mark, ed. (2006). The Philosophy of Film Noir. Lexington, KY: University Press of Kentucky. Conrad, Peter (2001). The Hitchcock Murders. London: Faber & Faber. Copjec, Joan, ed. (1993). Shades of Noir. London: Verso. Crawford, Christina (1997). Mommie Dearest. Los Angeles: Seven Springs Press. Croce, Fernando F. (2006). “Fallen Angel”. In Slant Magazine, March 10 (http://www.slantmagazine.com). Crone, Stanley (2005). Stanley Kubrick: Drama & Shadows. London: Phaidon. Crowe, Cameron (1999). Conversations with Wilder. New York: Random House, Inc. Crowther, Bruce (1989). Film Noir: Reflections in a Dark Mirror. New York: Continuum Publishing Company. Curtiss, Thomas Quinn (1998). The Smart Set: George Jean Nathan and H.L. Mencken. New York: Applause Books. 417
Page 1 and 2:
Joaquim da Silva Universidade de Av
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To Antonio, who made this possible.
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Acknowledgements This long journey
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Finally, I owe a huge debt of grati
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keywords abstract Film Noir, genre,
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2 Social and Political Influences o
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2.4 Joseph H. Lewis................
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Figure 42. Force of Evil ..........
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I. Introduction: Paving the Way for
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term that the film industry itself
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about which films themselves consti
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also, in the films’ fundamental n
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American films after the Nazi occup
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we also find a disruption of the wo
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oth in these French productions of
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Hollywood feature films but it did
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throughout this work); and c) to di
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odies, or as killers and crooks, bu
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these films was to confer on them a
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writer, director, producer, and art
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cinema does not have the power of
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Before working on The Dark Mirror,
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y taking it “from the outside.”
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and many, if not most, films would
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1.1.1 Dashiell Hammett In 1929, Das
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tough appearance, by their occupati
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Apart from “The Continental Op”
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unsettling when for example shootin
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1.1.2 Raymond Chandler Raymond Chan
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Figure 4. The Big Sleep the chaotic
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eleased to the big screen by MGM wi
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most fastidious visions of London i
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hometowns and move into bigger citi
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Double Indemnity started the trend
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has happened, but, as if hypnotized
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destructive, or used by stronger wo
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Tomorrow Goodbye (1950) into a noir
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Home (1937) - were two living proof
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which collapses the distinction bet
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Figure 10. Deadline at Dawn Alex’
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1.1.6 William Riley Burnett Another
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Figure 11. High Sierra The Asphalt
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1.1.7 Conclusions What made the det
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fiction managed to provide for a de
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escalation in illegal drinking plac
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Ben Hecht story and despite being p
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Mercy! Is this the end of Rico?”
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The third originating gangster movi
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part of the recurrent patterns of v
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protagonist of Edgar Ulmer’s Deto
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exemplify in Part III (“Space and
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1.3 The Gothic Romance 87 And trave
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titlecard when the film opens alert
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In Rebecca the beautiful, desirable
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forties. Thematically, the represen
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To complicate this matter further,
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trampled under by war and revolutio
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he says, when Expressionism ended,
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These early Expressionist films, wi
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student, Balduin (Paul Wegener hims
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(Tragedy of the Street, 1927, aka W
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plots with calculating precision. G
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perverted and neurotic sex murderer
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1.5 French Poetic Realism Poetic Re
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(Michèle Morgan), whose godfather
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strikingly atmospheric view of the
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Jean Paulhan, editor of La Nouvelle
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Julien Duvivier’s Pépé Le Moko
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the combination of lighting effects
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peculiar expressionistic lighting a
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Figure 28. Son of Frankenstein This
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Figure 29. Murders in the Rue Morgu
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alienation mixed with nuanced perfo
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2 Social and Political Influences o
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Liberal reforms soon became a spuri
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Polonsky, Jules Dassin, and Edward
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which are themselves historical eve
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Production Code Administration. Thi
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In this particular case, one can se
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Neff: Will you be here too? Phyllis
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against any possible theft of groce
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2.3 Postwar Readjustment If the moo
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In this group of films, the bleak a
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explain, these noir heroes of the f
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(Gilda, White Heat, Scarlet Street,
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seething excitations” and adds th
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Romanticism present at the very hea
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to persist and overcome difficultie
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III. Noir Thematics 1 Essential Ele
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its modernist sensibility, enabled
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Wyatt), cooks breakfast, domestic r
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structures of constituted authority
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1.2 Space and the Noir City Film no
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other people and developing a calcu
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I am the city. Hub and heart of Ame
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1.3 Trouble With Girls: The Femme F
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intelligent and powerful, if destru
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significant discussion of film noir
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Nevertheless, the message is quite
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Another example of the evolution of
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deceiving women. Like many of their
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Either as a femme fatale or an homm
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1.5 Dazed and Confused: The Voiceov
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an impersonal “you” giving the
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of war veterans who, unfolding thei
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1.6 Noir Atmospherics: Cinematograp
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John Alton’s highly stylised phot
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Figure 41. Stranger on the Third Fl
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indoctrination in the movie in the
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in the popular imagination. While t
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1.7 Sounds of the City: Jazz Soundt
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music, combines with images of patr
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Figure 45. Out of the Past Non-dieg
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ealm of near-explicit sexual metaph
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the two, affirming that “Jazz is
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City, Paramount’s Union Station a
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In my analysis of The Big Combo in
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Consequently, in the fifties, we st
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2 Noir and the Film Auteur 2.1 Aute
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noticeably the case, for example, w
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point out the fact that it is only
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elationship to the way a director t
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2.1.1 Billy Wilder Billy Wilder pla
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performance is full of understated
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Figure 54. Sunset Boulevard Wilder
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Figure 55. Ace in the Hole All of B
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2.1.2 Orson Welles He may have only
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For example, in the scene above (fi
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As Leo Braudy in The World in a Fra
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slanting compositions, and brillian
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2.1.3 Otto Preminger Austrian film
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plans, June still shows her love fo
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Figure 61. Where the Sidewalk Ends
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project my viewpoint on the audienc
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postulated as the “doctrine of si
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pouvait espérer sortir de la déno
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I am at the barber's, and a copy of
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certain community, our subjective r
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interpretant” (Stam 1992:6). Here
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The notion of “text” as a disco
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only agree that these disciplines s
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2 The Universe of Motifs and Symbol
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Andrew Sarris once wrote that “If
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exception to this rule, his movies
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independent production companies in
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Figure 66. Double Indemnity In the
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Figure 67. Scarlet Street The symbo
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contorted Expressionistic grimace,
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Figure 70. Metropolis The clock mot
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Figure 71. Strangers on a Train The
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“When I was young I wanted to be
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themselves in the projection of inn
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woman in the portrait throughout I
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scenes as the attachment is purely
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(namely The Spiral Staircase and Ou
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Chris meets by accident, is a hellc
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2.1.1.4 Conclusion All in all, ther
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Question: Scarlet Street had the sa
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an accepted and well-known screenwr
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Siodmak’s next two films for Univ
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money from Dundee. A more harrowing
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2.2.1 The Spiral Staircase (1946) a
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here increased by the unsteady blac
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Figure 83. The Spiral Staircase Thi
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Warren, making either of them the p
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2.2.1.2 The “Optical Unconscious
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camera is expressive, as it informs
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ordering” - appears to match this
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eyewitness, but at the same time, a
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Figure 87. The Spiral Staircase Bas
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While Cross implicitly acknowledges
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Figure 89. Affair in Trinidad Other
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However, much of this iconography t
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long, wooden staircase while trying
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Figure 93. The Spiral Staircase Fig
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of Nathaniel Hawthorne’s “The B
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almost part of a game, emphasising
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2.3 Jacques Tourneur Born in Paris
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a laughing audience), and broken la
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violent mishaps could have led to h
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writers like Dashiell Hammett (who,
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Chuck Tatum, a cynical, frustrated
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on, Ann, who represents his hope fo
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This kind of temporal manipulation
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ought forward by the characters of
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found Kathie: “I was glad it was
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Figure 102. Out of the Past In this
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Figure 104. The Lady from Shanghai
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Jeff: Give him time. Kathie: You ar
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Figure 106. Out of the Past The sce
Page 381 and 382: Gun Crazy, a barrage of police gunf
Page 383 and 384: 2.4 Joseph H. Lewis Considered as a
Page 385 and 386: untold storied of ordinary men and
Page 387 and 388: through windows, to provide the ind
Page 389 and 390: 2.4.1 The Big Combo (1955) and the
Page 391 and 392: of most noir films including The Bi
Page 393 and 394: 2.4.1.1 “First is First and Secon
Page 395 and 396: In The Big Combo the unconscious tr
Page 397 and 398: It is not only in terms of narrativ
Page 399 and 400: Although the idea is not to go into
Page 401 and 402: Figure 113. Scarlet Street Neff’s
Page 403 and 404: 2.4.1.2 The Big Combo and Generic T
Page 405 and 406: and knowing they are both surrounde
Page 407 and 408: As the noir movement entered the la
Page 409 and 410: V. Conclusions: 1 Genre Revisited T
Page 411 and 412: on social aspects through a dramati
Page 413 and 414: Buscombe is right: if we take a gen
Page 415 and 416: constructions that make it difficul
Page 417 and 418: Such factors have been scrutinised
Page 419 and 420: Thematically, noir films as a group
Page 421 and 422: While enforcement of the Production
Page 423 and 424: are “as often nihilistic, cynical
Page 425 and 426: which is normally not associated wi
Page 427 and 428: morality brought about by these noi
Page 429 and 430: It is within this cinematic and cri
Page 431: ____________ (1994). The Semiotic C
Page 435 and 436: E Easthope, Antony (1993). Contempo
Page 437 and 438: Greenberg, Joel & Higham, Charles (
Page 439 and 440: James, David E. (2005). The Most Ty
Page 441 and 442: Malkiewicz, Kris (1986). Film Light
Page 443 and 444: N Naremore, James (1978). The Magic
Page 445 and 446: Polan, Dana (1986). Power and Paran
Page 447 and 448: ____________ (2006). Ava Gardner:
Page 449 and 450: Sullivan, Ellie (1986). Jacques Lac
Page 451 and 452: Wilson, Edmund (1962). Classics and
Page 453 and 454: Appendix I: Annotated Filmography T
Page 455 and 456: Beware, My Lovely RKO 1952. Prod: C
Page 457 and 458: Christmas Holiday Univ 1944. Prod:
Page 459 and 460: Dark Corner, The Fox 1946. Prod: Fr
Page 461 and 462: Framed Col 1947. Prod: Jules Schern
Page 463 and 464: House on 92 nd Street, The Fox 1945
Page 465 and 466: Killing, The UA 1956. Prod: James B
Page 467 and 468: Mildred Pierce WB 1945. Prod: Jerry
Page 469 and 470: One Way Street Univ 1950. Prod: Leo
Page 471 and 472: Repeat Performance EL 1947. Prod: A
Page 473 and 474: Stranger, The RKO 1946. Prod: S.P.
Page 475 and 476: Unsuspected, The WB 1947. Prod: Cha
Page 477 and 478: B) Other Relevant Filmography The f
Page 479 and 480: Last Laugh, The ScreenSound 1924. P
Page 481 and 482: Appendix II The Motion Picture P
Page 483 and 484:
VIII. Religion 1. No film or episod
Page 485 and 486:
B. By reason of the mobility of fil
Page 487 and 488:
Reasons Underlying the Particular A
Page 489 and 490:
VIII. Religion The reason why minis
Page 491 and 492:
146, 152, 186, 192, 229, 250, 298,
Page 493 and 494:
high-contrast, 11, 46, 172 Highway
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350, 352, 353, 354, 356, 357, 359,
Page 497:
Walsh, Raoul, 56, 57, 66, 73, 223,
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