restricted access Contents
In lieu of an abstract, here is a brief excerpt of the content:

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 ...