Abstract

This article challenges recent scholarship on German exile directors by suggesting that the context of Weimar culture is relevant to understanding the work of these directors in Hollywood. I propose that film noir of the 1940s and 1950s conveys the crisis of male identity resulting from World War I by way of the femme fatale character. The paper begins with an examination of the traumatic conditions of post-war Weimar that constructed the woman as criminal and double and then proceeds to an analysis of filmic depictions of the femme fatale in Hollywood and Weimar. (BH)

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Additional Information

ISSN
1940-512X
Print ISSN
1058-7446
Pages
pp. 224-243
Launched on MUSE
2008-03-24
Open Access
No
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