...Susan White Copyright © 1994 by Indiana University Press 1994 Veronica Clare and the New Film Noir Heroine Susan White Veronica Clare is a sultry and seductive private investigator, and partner in a nightclub reminis...

...Robert Miklitsch This article employs Robert Stevenson's The Woman on Pier 13 (US, 1950) as a privileged example of anticommunist film noir in order to explore the received left critique of the ideological and aesthetic properties of this subgenre — what one might call the unhappy marriage of film...

... of Africa in two celebrated twenty-first century films, The Constant Gardener and Blood Diamond , and questions whether problematic archetypes still hold in the new millennium. By reading both films as noir thrillers with humanitarian agendas, the article highlights their subversive potential to “enlighten...

... and as technically good as any Gauguin.”9 How- ever, in addition to its agenda about art history, Velvet Dreams also addresses vexed issues of race, representation, and sexuality in the Pacific. By mimicking and in effect hijacking stylistic and narra- tive elements of film noir, Velvet Dreams imports...

... cinema articulated within contemporary film theory and that peculiar quality of late forties and early fifties American cinema which has come to be known as film noir, after French critic Jean• Pierre Chartier,1 In the writings of Raymond Bellour and others, a sophisticated account of classical...

..., The Second Sex One of the most familiar stories about the US after the Second World War involves the decline of the city and the emergence of the suburbs. Cinema studies has produced its own analysis of how films from the post – World War II era negotiated this shift: film noir, it is said...

... 2015 by Camera Obscura 2015 Korean modernity colonial memory urban memory noir space forgotten future Figure 1. CGI reconstruction of Kyung-­Sung in the 1930s in Modern Boy (dir. Ji-­woo Jeong, South Korea, 2008) Kyung-Sung:­ Cinematic Memories of the Colonial Past...

..., and thematic elements found within the film. The theme of techno- logical mediation within the sequence is linked to the two major genres that Bigelow mobilizes, film noir and apocalyptic science fiction, an association that provides viewers a certain amount of generic familiarity. Within this conventional...

... that narrativize the rise and fall of career women in contemporary American life and work to punish these de- viant women or reinscribe them within traditional familial structures. In this sense these films draw on narrative and enunciative conventions from the classic film genres of film noir...

... Mulvey’s notion of the gaze as a male activity. Various cinematic codes were employed in the construction of the male gaze to such an extent, I argued, that these codes constituted a convention of film noir texts in which the femme fatale was a central figure. An analysis of other noir texts...

... aesthetics: a dense, brooding iconography Con- stance Penley has termed “tech noir,” in which machines and technology provide the texture and substance of the narrative (exemplified by the Alien and Terminator films mentioned above),61 and a glossy visual style known in France as “le cinema du look,” 62...

... unexpected fervor with The X-Files (which debuted in 1993) and its stories of externally perceived aliens invading from outer space. A film noir, paranoid detective scenario centered on reports of UFO sightings and paranormal events, the program garnered...

... to the reality of race). Suture  is an essay flm that is conversant, as the title suggests, with apparatus and suture theory but also frmly located within a neo-­noir cinematic style. In fact, alongside the expressionistic reliance on the graphic properties of the mise-­en-­scène to convey...

..., prompted by Inspector Peterson (Moroni Olsen), she narrates her rise as a restaurateur, and the film noir that frames these flashbacks.14 In one of the most influential feminist readings of the film, Pam Cook argues that the purpose of the film noir part, with its presumably mascu- line mode...

... cinema to musical entertainers andftm noir heroines. Filmed in London and Iceland, The GoZd Diggers makes use of visual extremes (deserted night city streets and white snowscapes) and changes of physical scale and time scale to develop the theme of the search for the truths...

... was not an adequate description of the female viewer’s experience. What was needed was more work on genres or film modes with particularly gendered forms of address. This is what I attempted to do in an essay on the conflict between film noir and the woman’s film in Mildred...

... representation of woman become most acute-melodrama and film noir'' Of the two, it is film nair which establishes a disturbance of vision as a premise of the film's signifying system. The lighting style implies a distortion of an originally clear and readable image and the consequent crisis of vision...

... be seen in relation to a set of cultural and psychical conflicts, anxieties and fantasies that are all at work in this film in a particularly insistent way. Tech Noir What are the elements, then, of The Terminator’s critical dystopian vi- sion? Although the film is thought...

...Kaja Silverman Copyright © 1992 by The Johns Hopkins University Press 1991 Back to the Future Kuju Silverman Ridley Scott’s Blade Runner (1982) represents a curious generic amal- gam; simultaneously science fiction and film noir, it points both for- ward and backward in time.l...

..., that these billboards are watching everyone everywhere we go. . . . it would have been the capper for the movie, actually.” See Paul Sammon, Future Noir: The Making of “Blade Runner”  (New York: Harper, 1996), 73, 161. 22. Bruno elsewhere equates the cinematic spectator with the tourist...