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Contents Acknowledgments  ix Prise de Position: For ’50s Noir, or Confessions of a Film Noir Addict  xi Preface: Generalities, or The Rise and Fall of Classic American Film Noir  xv Introduction: Coming Attractions, or The Particulars  1 Part One: ’50s Noir and Anticommunism 1 The Woman on Pier 13: I Married a Communist!  19 2 The Red and the Black: “Black Film” and the Red Menace  40  The Whip Hand: The Red Plague  42  I Was a Communist for the F.B.I.: Fear of a Red Planet  48  Walk East on Beacon! “A Red behind Every Tree”  62  Big Jim McLain: Red Hawaii  72 3 Pickup on South Street: Out of the Red and Into the Black  79 Part Two: ’50s Noir in the Atomic Age 4 D.O.A.: Fatality, Sexuality, Radioactivity  95 5 “Black Film” and the Bomb: Spies and “Cowboys,” Red Professors and Thieves  109  The Thief: Alien Nation  110  The Atomic City: Atomic Cowboys and Un-American Indians  120   Shack Out on 101: Bikinis, Bombshells, and the (Red) Planet of the Apes  131  City of Fear: Cobalt-60  137 6 Kiss Me Deadly: The X Factor, or The “Great Whatsit”  144 Part Three: New Media and Technologies 7 Noir en couleur: Color and Widescreen  163  Black Widow: Red Herring  166   House of Bamboo: “Kimono Girl” (Red), Gaijin Gangster-Detective (Black)  173  Slightly Scarlet: Color Me Bad  179  A Kiss before Dying: Pink Is the New Black  187 8 Niagara: Colored Marilyns  196 9 The Glass Web: 3-D, TV, and the Beginning of the End of Classic Noir  212 Conclusion: The Crimson Kimono: Odds for Tomorrow  229 Notes  241 Index  273 ...


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