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Notes Prise de Position 1. On “Disney Noir,” see J. P. Telotte, “Disney Noir: ‘Just Drawn That Way,’” in Kiss the Blood Off My Hands: On Classic Film Noir, ed. Robert Miklitsch (Urbana: University of Illinois Press, 2015), 99–112. 2. Paul Schrader, “Notes on Film Noir,” in Perspectives on Film Noir, ed. R. Barton Palmer (New York: G. K. Hall, 1996), 109. 3. Jean-Luc Godard, Godard on Godard, ed. Jean Narboni and Tom Milne (New York: Viking, 1972), 171. Preface 1. Raymond Borde and Étienne Chaumeton, A Panorama of American Film Noir, trans. Paul Hammond (San Francisco: City Lights, 2002), 83. 2. Paul Schrader, “Notes on Film Noir,” in Perspectives on Film Noir, ed. R. Barton Palmer (New York: G. K. Hall, 1996), 106. 3. Andrew Spicer, Film Noir (Harlow, England: Longman, 2002), 59. In fact, elsewhere in his study Spicer notes that the “classical period” extends from 1940 to 1959—from, that is, Stranger on the Third Floor to Odds against Tomorrow (ibid., vii)—a determination that accords with the current periodization of the genre. See also “Conditions of Production and Reception” (ibid., 27). 4. For a discursive history of the periodization of classic noir, see Robert Miklitsch, “Periodizing Classic Noir: From Stranger on the Third Floor to the ‘Thrillers of Tomorrow,’” in KisstheBloodOffMyHands:OnClassicFilmNoir,ed.RobertMiklitsch(Urbana:University of Illinois Press, 2015), 193–218. 242 notes to preface 5. For my take on the genre, see “Cues,” in Robert Miklitsch, Siren City: Sound and Source Music in American Film Noir (New Brunswick, NJ: Rutgers University Press), xi–xv; and “Back to Black: ‘Crime Melodrama,’ Docu-Melo-Noir, and the ‘Red Menace’ Film,” in Miklitsch, Kiss the Blood, 1–15. 6.BrianNeve,FilmandPoliticsinAmerica:ASocialTradition(London:Routledge,1992), 149. 7. The classic account is Dorothy Jones, “Communism and the Movies: A Study of Film Content,” inJohnCogley,A Reporton Blacklisting (NewYork:Fundfor theRepublic,1956), 196–233. See also Peter Roffman and Jim Purdy, “The Decline of the Social Problem Film,” in The Hollywood Social Problem Film: Madness, Despair, and Politics from the Depression to the Fifties (Bloomington:IndianaUniversityPress,1981),296–99;andBrianNeve,“HUAC, the Blacklist, and the Decline of Social Cinema,” in Transforming the Screen, 1950–1959, ed. Peter Lev (New York: Charles Scribner’s Sons, 2003), 65–86. 8. Frank Krutnik, In a Lonely Street: Film Noir, Genre, Masculinity (London: Routledge, 1991), 204; Spicer, Film Noir, 60. 9. For a recent, synoptic example, see Robert Porfirio’s “The Strange Case of Film Noir”: “Thiswasaboutthetime[circa1948]thesocialproblemfilmsofthecyclebegantobedisplaced bythesemi-documentaries,andtheseinturnbegantobeformulaicasthepoliceprocedurals became more dominant. . . . By the early 1950s, this type of film was hardly transgressive. If anything,ittendedtoreinforceconservativeAmericanvalues.”ACompaniontoFilmNoir,ed. Helen Hanson and Andrew Spicer (Malden, MA: Wiley Blackwell, 2013), 60. 10. Alexander Ballinger and Danny Graydon, The Rough Guide to Film Noir (London: Rough Guides, 2007), 27. 11. Ibid. 12. Schrader, “Notes on Film Noir,” 107; Borde and Chaumeton, Panorama, 155. 13. Ballinger and Graydon, Rough Guide to Film Noir, 33. 14. Schrader, “Notes on Film Noir,” 107. 15. Thom Andersen, “Red Hollywood,” in “Un-American” Hollywood: Politics and Film in the Blacklist Era, ed. Frank Krutnik, Steve Neale, Brian Neve, and Peter Stanfield (New Brunswick, NJ: Rutgers University Press, 2007), 225–63. 16.JoshuaHirsch,“FilmGrisReconsidered,”JournalofPopularFilmandTelevision34,no. 2 (2006): 84. 17. Krutnik, In a Lonely Street, 191. 18. Alain Silver and Elizabeth Ward, Introduction to Film Noir: An Encyclopedic Reference to the American Style, ed. Silver and Ward (Woodstock, NY: Overlook, 1992), 2. 19. Nicholas Christopher, Somewhere in the Night (New York: Free Press, 1997), 49. 20. Ibid., 50. 21. Ibid. 22. Silver and Ward, Film Noir, 52. 23. Walter Metz, “‘Keep the Coffee Hot, Hugo’: Nuclear Trauma in Fritz Lang’s The Big Heat,” Film Criticism 21, no. 3 (1997): 54. 24. Ibid., 44–45. 25. Ibid. 243 notes to preface and introduction 26. On Touch of Evil as “noir’s epitaph,” see Miklitsch, “Periodizing Classic Noir,” in Kiss the Blood, 200–202. 27. Spicer, Film Noir, 62. 28. Schrader, “Notes on Film Noir,” 107. 29. Spicer, Film Noir, 63. 30. See, for example, Kelly Oliver and Benigno Trigo, “The Borderlands of Touch of Evil,” inNoir Anxiety(Minneapolis:UniversityofMinnesotaPress,203),115–36;JenniferFayand Justus Nieland, Film Noir: Hard-Boiled Modernity and the Cultures of Globalization (New York:Routledge,2010),173–75;andJonathanAuerbach,DarkBorders:FilmNoirandAmerican Citizenship (Durham, NC: Duke University Press, 2011), 200–203. 31. For my reading of Odds against Tomorrow as a terminal classic noir, see Miklitsch, “Omega: Odds against Tomorrow,” in Kiss the Blood, 205...


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