Abstract

Looking closely at how images subvert words in Anthony Mann’s generic hybrid Border Incident (1949), this article develops the concept of noir citizenship, exploring how Mexican migrant workers smuggled into the United States experience dislocation and disenfranchisement in ways that help us appreciate film noir’s relation to questions of national belonging.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 102-120
Launched on MUSE
2008-08-14
Open Access
No
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