Film Noir, American Workers, and Postwar Hollywood

Index

Index · · · 171 Index Page numbers in italics indicate illustrations. The Accused, 73 Across the Pacific, 144n21 Adam-12, 109 Adorno, Theodor, xxviii, 46, 76, 141 AFL. See American Federation of Labor After Dark My Sweet, 115 Agee, James, 43–44, 66 The Agency, 123 Alias, 123 Alignment, xxxi Allegiance, xxxi–xxxiv Allied State Organization, 44 Alton, John, 56, 148n4 American Federation of Labor (AFL), 81–84 Amnesiac war veteran, 76–77; films of, 134–35 Among the Living, 14–15 Andrews, Dana, 94 Angels with Dirty Faces, 10 Appel, Benjamin, 17 Appointment with Danger, 108 Asphalt Jungle, 148n3 Atlas, Leopold, 60 Audience decline, 87 Bad Lieutenant, 116 Bandits (Hobsbawm), xxii–xxiii The Best Years of Our Lives, 44 B-film, 106–7 The Big Clock, xix, xxiii; class fear in, 74–75; film v. book, ending of, 76; Laughton’s impact in, 73 The Big Heat, 102–4 The Big Sleep (Chandler), 22–23 Bioff, Willy, 7 Black Angel (Woolrich), 28–29 Blacklisting, 39–40, 70; impact of, 86; unacknowledged reason for, 146n5 Blanke, Henry, 12 The Blue Dahlia, xxiii, 42; plot of, 49–50; protagonist in, 48–49 Blue Velvet, 106; neo-noir and, 118–19; opening sequence of, 117–18; Twin Peaks’s sexual abuse compared to, 120 “Blue Velvet” (song), 155n18 Body and Soul, 51, 56 Bogart, Humphrey, 12, 15, 22, 99; Mitchum compared to, 71–72; persona of, xxxiii, 19. See also “Sam Spade” 172 · · · Index Borde, Raymond, xxvi Boxing, 56, 92 Boy’s Town, 44 Brecher, Jeremy, 32 Brewer, Roy, 39, 85–87 Brodie, Steve, 57 Brother Orchid, 10 Browne, George, 7 Brute Force, 47–48 Buffy the Vampire Slayer, 123 Buhle, Paul, 42 Build My Gallows High (Mainwaring), 70 Bullets and Ballots, 10 Burr, Raymond, 57, 60 Bush, George H. W., 114–16, 119 Cagney, James, 10, 99 Cain, James M., 43 Cassavetes, John, 108 Cat People, 143n13 Chance of a Lifetime, 16 Chandler, Raymond, 13, 24, 50; class and corruption in novels of, 22–23; women in novels of, 145n27 Charlie Chan, 16 The Chase, 149n6 Chaumeton, Étienne, xxvi CIO. See Congress of Industrial Organizations Citizen Kane, 65 City symphonies, 90–91 Class: The Big Clock, fear with, 74–75; Chandler’s novels, corruption by, 22–23; crime film and, xxi–xxiv; defining, xix–xx; Depression-era drifter and conflicts in, 64; detective films highlighting contradictions in, 13, 16; film noir and, xvi–xvii, xx–xxi, xxv–xxvi; The Maltese Falcon and, 19–20, 22; middle-class fugitive’s fears of, 72–73; The Naked City’s statements on, 92–93; opening sequences and conflict in, 149n6; “Philip Marlowe,” Murder My Sweet, antagonism towards, 23–24; The Strange Love of Martha Ivers, conflict in, 65–67, 69; women in The Maltese Falcon, Murder My Sweet and, 28 Cole, Lester, 14, 39 Colman, Ronald, 11 Communism: INS fighting, 82; strikes being associated with, xvii, 34–35, 146n2; SWG linked to, 38; terrorism replacing, 106 Confederation of Studio Unions (CSU), 9, 84–85; strikes of, 35–37 Congress of Industrial Organizations (CIO), 33, 35, 83–84 Conrad, William, 112 Control, 89 Convict fugitive: features of, 59; films of, 132; in Raw Deal, 60–63 Corruption: Chandler’s novels, class and, 22–23; in Murder My Sweet, 21–22; The Strange Love of Martha Ivers, laws and, 67–68 Cortez, Ricardo, 12 Cotton, Joseph, 99 Craft unions. See Unions Creative guilds. See Guilds Crime film: banishment of, 10; class and, xxi–xxiv; detective toughened in, 15; directors’ attraction to, xxiii–xxiv; turned into documentary, 90; doom and, 77–78; evolution of, 43–45, 81; as genre, xxiii; Hollywood, 1930s and, 9–11; Italian neorealism’s techniques in, 90; labor and, xxvii; laws portrayed in, 11, 16; paranoia/guilt in, 86; politics in, 21–22; revitalization of, 55; social content in, 46; socialism removed from, 88; social problem films, 131; viewer perspective as compared to Westerns, 87–88. See also Detective films; Film noir; Police procedural film The Crime of Monsieur Lange, 154n5 Crime Wave, 96 Criminal cops, 93–95; films of, 136; vigilante cops compared to, 101. See also Where the Sidewalk Ends Criminal detective. See Detectives Crossfire, xxiv, 44–46 CSI, 123 CSU. See Confederation of Studio Unions “Cultural front,” xix–xx, xxviii Dark City, 108 The Dark Corner, 70, 147n13 Dassin, Jules, 78, 148n3, 152n16 Index · · · 173 Davis, Bette, 12 Death to Smoochy, 139n3 Defense Mediation Board, 4 de Havilland, Olivia, 7...