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

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Lupino, Ida, 66, 208, 223, 439, 445, 446, 455, 459 M, 109, 268, 270, 278, 280, 286 Macao, 450 MacGraw, Charles, 458 Madigan, 450 Maltese Falcon, 1, 4, 7, 15, 18, 37, 46, 142, 147, 161, 182, 185, 186, 190, 205, 229, 378, 450 Man Between, 450 Man Who Cheated Himself, 450 Mann, Anthony, 20, 22, 105, 171, 183, 197, 219, 220, 227, 376, 440, 454, 456 Maté, Rudolph, 6, 109, 206, 442, 443, 445 Mature, Victor, 442, 447, 449, 455 McCarthyism, 13, 131, 132, 133, 134, 137, 147, 166 McCoy, Horace, 4, 47, 55, 56, 57, 58, 59, 74, 425, 449 McGraw, Charles, 430, 438, 446, 452, 455, 456 metaphor, 55, 181, 211, 239, 241, 264, 265, 266, 284, 311, 319, 321, 322, 325, 330, 360, 407 metonymy, 14, 264, 265, 280, 319, 322, 323 Metropolis, vi, 126, 268, 270, 278, 280, 281, 316, 394, 463 Metz, Christian, 24, 141, 259, 263, 264, 265, 266, 316, 318, 320, 322, 323, 325, 327, 408, 425 Mildred Pierce, 55, 191, 339, 451 Ministry of Fear, 451 mise-en-scène, 11, 16, 22, 62, 89, 90, 108, 109, 120, 121, 125, 127, 135, 142, 143, 144, 153, 207, 221, 224, 239, 249, 262, 280, 287, 321, 324, 351, 411 Mitchum, Robert, 73, 119, 183, 208, 213, 330, 331, 342, 344, 345, 438, 439, 446, 450, 452, 453, 454, 459 Mob, 81, 445, 451 Monroe, Marilyn, 257, 258, 259, 441, 452 Montgomery Robert, 45, 102, 148, 149, 183, 449 Moonrise, 451 MPPDA, 138, 142, 146 478 Mummy, 127, 128 Murder, My Sweet, 4, 45, 101, 102, 183, 247, 345, 378, 379, 451 Murders in the Rue Morgue, 126, 127 Musuraca, Nicholas, 20, 27, 62, 108, 195, 315, 320, 344, 361, 440, 441, 443, 446, 453, 455, 456, 457, 459 My Name Is Julia Ross, 369, 451 Mystery Street, 451 Naked City, 201, 368, 376, 451 narrational strategies, 16 narrative, 5, 6, 8, 10, 11, 16, 17, 19, 25, 28, 35, 38, 43, 47, 56, 62, 72, 77, 78, 83, 87, 89, 102, 108, 111, 114, 119, 120, 139, 148, 149, 150, 162, 164, 171, 172, 179, 186, 187, 189, 190, 192, 197, 202, 213, 216, 223, 229, 230, 243, 245, 249, 265, 266, 269, 280, 288, 312, 332, 335, 337, 338, 341, 343, 347, 349, 350, 351, 352, 353, 356, 359, 373, 374, 376, 393, 397, 398, 409 Narrow Margin, 452 neorealist, 21 Niagara, 361, 452 Night and the City, 135, 452 Night Has a Thousand Eyes, 62, 64, 182, 452 Night Holds Terror, 452 Night of the Hunter, 452 Nightmare Alley, 149, 347, 452 Nobody Lives Forever, 452 noir hero, 10, 20, 41, 46, 82, 83, 119, 164, 172, 173, 187, 347, 352, 353 noir sensibility, 136, 144, 284, 334, 341 Notorious, 328, 452 O’Brien, Edmond, 52, 53, 182, 185, 197, 206, 282, 353, 376, 427, 442, 444, 446, 448, 453, 459, 460, 461 O’Donnell, Cathy, 179, 367, 440, 456, 458 O’Keefe, Dennis, 129, 183, 197, 375, 376, 438, 454, 460 Odds against Tomorrow, 452 One Way Street, 453 Oswald, Gerd, 441 Out of the Past, 49, 108, 181, 183, 190, 247, 339, 341, 343, 344, 347, 348, 349,
350, 352, 353, 354, 356, 357, 359, 360, 363, 364, 366, 453 Palance, Jack, 439, 457 Panic in the Streets, 376, 453 Payne, John, 148, 442, 448, 449, 451, 456 People against O’Hara, 453 Pépé le Moko, 119, 120, 463 period genre, 93, 332, 338 photography, 6, 22, 61, 62, 82, 89, 93, 108, 109, 195, 196, 197, 199, 215, 231, 243, 261, 262, 320, 340, 361, 367, 378, 407, 412 Pickup on South Street, 453 Pitfall, 177, 283, 453 Poe, Edgar Allan, 36, 87, 88, 122, 126, 439, 462, 464 Polonsky, Abraham, 135, 199, 200, 201, 220, 444, 450 Port of New York, 453 Possessed, 190, 453 Postman Always Rings Twice, 51, 52, 54, 106, 157, 179, 454 Powell, William, 45, 46, 164, 177, 178, 183, 192, 330, 331, 337, 345, 378, 442, 448, 451, 453 Preminger, Otto, 22, 23, 24, 149, 202, 218, 227, 228, 245, 246, 247, 248, 249, 250, 251, 288, 300, 402, 418, 429, 435, 438, 444, 450, 459 private-eye, 86 Production Code, 9, 14, 51, 70, 86, 138, 141, 145, 162, 185, 290, 298, 335, 424, 425, 465 Prohibition, 36, 72, 73, 76, 77, 79, 83, 85 Prowler, 454 psychoanalysis, 16, 89, 152, 153, 154, 156, 164, 259, 264, 265, 318, 319, 325, 329, 394, 406 psychology, 16, 49, 60, 68, 148, 158, 221, 226, 255, 270, 318, 330, 356, 401 Public Enemy, 67, 77, 78, 80, 369, 463 Pushover, 454 Quai des Brumes, 112, 113, 463 Quai Des Orfèvres, 463 Quicksand, 454 Racket, 74, 75, 374, 375, 376, 454 Railroaded, 201, 454 479 Raw Deal, 183, 184, 454 Ray, Nicholas, 6, 56, 65, 150, 219, 229, 230, 239, 282, 341, 367, 374, 382, 429, 439, 444, 447, 450, 451, 454, 458, 464 Rebecca, 89, 90, 91, 95, 339, 340 Red House, 454 Regeneration, 73, 74 Reign of Terror, 454 Repeat Performance, 455 Ride the Pink Horse, 149 Ripley, Arthur, 60, 73, 101, 440 Road House, 455 Roadblock, 455 Roaring Twenties, The, 77, 286 Robinson, Edward G., 26, 50, 64, 65, 76, 81, 118, 182, 242, 272, 273, 288, 297, 299, 302, 382, 444, 445, 447, 448, 452, 454, 455, 457, 459, 463 Ryan, Robert, 148, 150, 173, 341, 438, 441, 444, 446, 452, 454, 455, 456 Scarface, 74, 79, 80, 82, 463 Scarlet Street, 107, 118, 153, 154, 175, 183, 225, 270, 271, 272, 273, 274, 275, 277, 279, 283, 286, 288, 290, 297, 298, 299, 364, 370, 379, 383, 384, 385, 455 Schrader, Paul, 2, 5, 7, 15, 19, 109, 110, 144, 147, 158, 190, 195, 196, 390, 403, 404, 407, 409, 410, 412, 413, 430 Scott, Lizabeth, 53, 92, 101, 165, 177, 187, 191, 209, 212, 431, 443, 446, 447, 451, 453, 454, 456, 458, 459 Second Woman, 455 Seitz, John F., 64, 232, 439, 444, 452, 457, 458 semiology, 255, 265 semiotics, 12, 23, 24, 31, 246, 252, 253, 254, 255, 259, 260, 263, 264, 266, 319, 356 Set-Up, 455 Seventh Veil, 464 sexuality, 17, 18, 29, 82, 94, 103, 143, 152, 153, 154, 164, 180, 181, 186, 187, 191, 301, 329, 330, 362, 364, 380, 411 Shadow of a Doubt, 89, 103, 184, 226, 283, 455 Shanghai Gesture, 75, 84, 355, 455 Sherman, Vincent, 18, 438, 442, 445, 449, 456
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,
Page 363 and 364:
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
Page 371 and 372:
found Kathie: “I was glad it was
Page 373 and 374:
Figure 102. Out of the Past In this
Page 375 and 376:
Figure 104. The Lady from Shanghai
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Jeff: Give him time. Kathie: You ar
Page 379 and 380:
Figure 106. Out of the Past The sce
Page 381 and 382:
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
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of most noir films including The Bi
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2.4.1.1 “First is First and Secon
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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
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2.4.1.2 The Big Combo and Generic T
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and knowing they are both surrounde
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As the noir movement entered the la
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V. Conclusions: 1 Genre Revisited T
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on social aspects through a dramati
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Buscombe is right: if we take a gen
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constructions that make it difficul
Page 417 and 418:
Such factors have been scrutinised
Page 419 and 420:
Thematically, noir films as a group
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While enforcement of the Production
Page 423 and 424:
are “as often nihilistic, cynical
Page 425 and 426:
which is normally not associated wi
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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 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: high-contrast, 11, 46, 172 Highway
Page 497: Walsh, Raoul, 56, 57, 66, 73, 223,
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