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

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Hilfer, Anthony (1990). The Crime Novel: A Deviant Genre. Austin: University of Texas Press. Hirsch, Foster (1981). The Dark Side of the Screen: Film Noir. New York: Da Capo Press. Homer, Sean (2005). Jacques Lacan. New York: Routledge. Hordnes, Lise (1998). Does Film Noir Mirror the Culture of Contemporary America?. Bergen, Norway: University of Bergen. Horsley, Lee (2005). Twentieth-Century Crime Fiction. New York: Oxford University Press. Horton, Robert, ed. (2001). Billy Wilder: Interviews. Jackson, Mississippi: University Press of Mississippi. House, Rebecca (1986). “Night of the Soul: American Film Noir”. In Studies in Popular Culture, vol. 9, nº 1, pp. 61-83. Hughes, Lloyd (2005). The Rough Guide to Gangster Movies. London: Rough Guides, Ltd. Hume, Robert (1969). “Gothic versus Romantic: A Revaluation of the Gothic Novel”. In The Scholarly Modern Archive (Modern Language Association), vol. 84, no.2, March 1969, pp. 282-90. Humphries, Reynold (1989). Fritz Lang: Genre and Representation in His American Films. Baltimore: Johns Hopkins University Press. Hunt, Marsha (1996). The Way We Wore: Styles of the 1930s and ’40s and Our World Since Then. San Diego, CA: Fallbrook Publishing, Ltd. I Ingram, Robert & Duncan, Paul, eds. (2008). François Truffaut: Film Author 1932-1984. Cologne: Taschen. Irwin, John T. (2006). Unless the Threat of Death Is Behind Them: Hard-Boiled Fiction and Film Noir. Baltimore: Johns Hopkins University Press. Izod, John (1988). Hollywood at the Box Office, 1895-1986. London: Macmillan. J Jackson, Barry (2001). Art, Culture, and the Semiotics of Meaning. Basingstoke: Palgrave. Jacobs, Lea (1991). The Wages of Sin: Censorship and the Fallen Woman Film 1928-1942. Madison: University of Wisconsin Press. 422
James, David E. (2005). The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Los Angeles: University of California Press. Jones, Amelia (1991). “She Was Bad News: Male Paranoia and the Contemporary New Woman”. In Camera Obscura, 26, pp. 297-320. Justice, Christopher (2003). “Robert Siodmak: The Brightest Shade of Noir”. In Senses of Cinema, October ( http://archive.sensesofcinema.com/contents/directors/03/siodmak.html). K Kaes, Anton (2000). M. London: British Film Institute. Kagan, Norman (1995). The Cinema of Stanley Kubrick. London: Roundhouse. Kaminsky, Stuart (1974). American Film Genres: Approaches to a Critical Theory of Popular Film. New York: Dell Publishing Co., Inc. Kaplan, E. Ann, ed. (1998). Women in Film Noir. London: British Film Institute Publishing. Keaney, Michael F. (2003). Film Noir Guide: 745 Films of the Classic Era, 1940-1959. Jefferson, North Carolina: McFarland & Co, Inc., Publishers. Kellner, Douglas (1998). “Hollywood Film and Society”. In The Oxford Guide to Film Studies, J. Hill and P.C. Gibson, eds., New York: Oxford University Press, p. 355. Kemp, Philip (1986). “From the Nightmare Factory: HUAC and the Politics of Noir”. In Sight and Sound, 55 (4), pp. 266-70. Kobal, John (1972). “The Time, the Place, and the Girl: Rita Hayworth”. In Focus on Film, 10, pp. 15-29. Kracauer, Siegfried (1997). Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press. Kristeva, Julia (1982). Powers of Horror: An Essay in Abjection. Trans. by Leon S. Roudiez, New York: Columbia University Press. Krohn, Bill (2000). Hitchcock at Work. London: Phaidon Press Ltd. Krutnik, Frank (1991). In a Lonely Street: Film Noir, Genre, Masculinity. London: Routledge. 423
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
Page 367 and 368:
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
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Gun Crazy, a barrage of police gunf
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2.4 Joseph H. Lewis Considered as a
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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 and 432: ____________ (1994). The Semiotic C
Page 433 and 434: ____________ (1992b). Farewell, My
Page 435 and 436: E Easthope, Antony (1993). Contempo
Page 437: Greenberg, Joel & Higham, Charles (
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
Page 495 and 496:
350, 352, 353, 354, 356, 357, 359,
Page 497:
Walsh, Raoul, 56, 57, 66, 73, 223,
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