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Acknowledgments I want to begin by expressing my gratitude to Danny Nasset for his early enthusiasm for this book. He’s a prince of an editor and prescient to boot. In addition, I want to thank all the staff at the University of Illinois Press—especially Angela Burton, Marika Christofides, Kevin Cunningham, Tad Ringo, and Roberta Sparenberg—for shepherding The Red and the Black through the publication process and beyond. Their labor is anything but invisible to this writer. I’m also grateful to Daryl Malarry Davidson, a devotee of ’50s American cinema , who was gracious enough to proofread the manuscript before it was submitted to the press, and to Jill R. Hughes, who was incredibly clement about my jazz-fueled queries about how far I could push “house style” and grammatical etiquette. Listening to early “Blue Note” Miles Davis while reviewing the copy may not have been the wisest decision, but, needless to say, all the “blue notes” are mine. I’m beholden, in addition, to Evan Shaw, award-winning documentary filmmaker at WOUB, for taking time out of his busy schedule to make 4K images for me, and Sheila Bodell, for compiling the index and graciously agreeing to defer payment. Thanks to the marketing and publicity department at Illinois, I’m pleased to be able to give a shout-out here to the Mystery Writers of America for nominating my previous Illinois book, Kiss the Blood Off My Hands: On Classic Noir, for an Edgar Allan Poe Award and to the American Library Association for naming it a “Choice” Outstanding Academic Title of 2015. Chapter 1 appeared in Camera Obscura and chapter 9 in the Journal of Film and Video, respectively, and I am very appreciative of the editors with whom I x acknowledgments collaborated at these journals, Sharon Willis and Stephen Tropiano. I’d also like to tip my fedora to Felicia Campbell at the Popular Culture Review and James Distefano at the Journal of Popular Film and Television. In the course of writing this book, I’ve tried to review the extant criticism on 1950snoirandamthereforeindebtedtoallofthewriterswhomIcite.Inaddition to Mark Osteen, whose essay on “nuclear noir” provided a template for my own takeonthe subject,Iwanttosingle outJeffSmith,who,unbeknownsttome,was writingaboutanticommunistnoir—inparticular,TheWomanonPier13—around thesametimethatIwas.Iwasthereforebothsurprisedanddelightedtodiscover how fraternal our readings are, which not only confirmed my considered sense of these “red” films but, happily, that the act of interpretation is less subjective than it is sometimes made out to be. AtOhioUniversity,BrianMcCarthy,associatedeanoftheCollegeofArtsand Sciences,hasgenerouslyprovidedfundsfortheindex,andtheResearchSupport Fundhasbeeninstrumentalinacquiringillustrations.IntheEnglishdepartment, Sherrie Gradin has been a wonderfully supportive chair; the faculty, unfailingly collegial colleagues; and the students in my film noir class, “Kiss Me Deadly,” spirited and engaging interlocutors. I’m much obliged as well to Beth Quitslund and Ghirmai Negash for their continued support of the last noir course, without which this book would certainly be poorer. In the same spirit, I want to express my deep appreciation to Ann Douglas, whoseintellectualcompanionshipandprofoundknowledgeofclassicAmerican noir have been a real gift. I can only hope that The Red and the Black lives up, at least in part, to her imprimatur. Mille grazie to Hedy and Joe Ruffalo, new friends from outside of “the 6,” who arenotonlysuper,salt-of-the-earthpeoplebut“veryproudofme,”likemyfather (another native of NF) as well as my brother and sisters—Cathy (Nyack, New York), Dave (Colorado Springs), Tre (Buffalo), Fran (Washington, D.C.), and Rose (Toronto/Santa Monica)—who may be geographically distant from me but remain as close as a heartbeat. Finally,I’mmostindebtedtoJessica“Jayne”Burchard,whosemadlyricalskills and sing-along singing continue to amaze and delight me. Luck is not, contrary to Ian Fleming in Casino Royale (1953), a woman, but I’m lucky to have her in my life. Bartender, two martinis, si’l vous plaît: “Three measures of Gordon’s, one of vodka,halfameasure ofKinaLillet.Shake itverywelluntilit’sice-cold,thenadd a large thin slice of lemon peel. Got it?” (James Bond, “Rouge et Noir,” Casino Royale). ...


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