CINXE.COM

<!DOCTYPE html> <html class="client-nojs vector-feature-language-in-header-enabled vector-feature-language-in-main-page-header-disabled vector-feature-page-tools-pinned-disabled vector-feature-toc-pinned-clientpref-1 vector-feature-main-menu-pinned-disabled vector-feature-limited-width-clientpref-1 vector-feature-limited-width-content-enabled vector-feature-custom-font-size-clientpref-1 vector-feature-appearance-pinned-clientpref-1 vector-feature-night-mode-enabled skin-theme-clientpref-day vector-sticky-header-enabled vector-toc-available" lang="en" dir="ltr"> <head> <meta charset="UTF-8"> <title>Film noir - Wikipedia</title> <script>(function(){var className="client-js vector-feature-language-in-header-enabled vector-feature-language-in-main-page-header-disabled vector-feature-page-tools-pinned-disabled vector-feature-toc-pinned-clientpref-1 vector-feature-main-menu-pinned-disabled vector-feature-limited-width-clientpref-1 vector-feature-limited-width-content-enabled vector-feature-custom-font-size-clientpref-1 vector-feature-appearance-pinned-clientpref-1 vector-feature-night-mode-enabled skin-theme-clientpref-day vector-sticky-header-enabled vector-toc-available";var cookie=document.cookie.match(/(?:^|; )enwikimwclientpreferences=([^;]+)/);if(cookie){cookie[1].split('%2C').forEach(function(pref){className=className.replace(new RegExp('(^| )'+pref.replace(/-clientpref-\w+$|[^\w-]+/g,'')+'-clientpref-\\w+( |$)'),'$1'+pref+'$2');});}document.documentElement.className=className;}());RLCONF={"wgBreakFrames":false,"wgSeparatorTransformTable":["",""],"wgDigitTransformTable":["",""],"wgDefaultDateFormat":"dmy","wgMonthNames":["","January","February","March","April","May","June","July","August","September","October","November","December"],"wgRequestId":"d9a2dd62-6089-4243-9b0d-295591a68135","wgCanonicalNamespace":"","wgCanonicalSpecialPageName":false,"wgNamespaceNumber":0,"wgPageName":"Film_noir","wgTitle":"Film noir","wgCurRevisionId":1281482322,"wgRevisionId":1281482322,"wgArticleId":10802,"wgIsArticle":true,"wgIsRedirect":false,"wgAction":"view","wgUserName":null,"wgUserGroups":["*"],"wgCategories":["Webarchive template wayback links","Articles with short description","Short description is different from Wikidata","Use mdy dates from October 2024","Pages with French IPA","Articles with hAudio microformats","All articles with minor POV problems","Articles with minor POV problems from September 2023","All articles with unsourced statements","Articles with unsourced statements from July 2023","Spoken articles","Commons category link from Wikidata","Film noir","Film and video terminology","Film genres","History of film","1930s in film","1940s in film","1950s in film","1940s neologisms"],"wgPageViewLanguage":"en","wgPageContentLanguage":"en","wgPageContentModel":"wikitext","wgRelevantPageName":"Film_noir","wgRelevantArticleId":10802,"wgIsProbablyEditable":true,"wgRelevantPageIsProbablyEditable":true,"wgRestrictionEdit":[],"wgRestrictionMove":[],"wgNoticeProject":"wikipedia","wgCiteReferencePreviewsActive":false,"wgFlaggedRevsParams":{"tags":{"status":{"levels":1}}},"wgMediaViewerOnClick":true,"wgMediaViewerEnabledByDefault":true,"wgPopupsFlags":0,"wgVisualEditor":{"pageLanguageCode":"en","pageLanguageDir":"ltr","pageVariantFallbacks":"en"},"wgMFDisplayWikibaseDescriptions":{"search":true,"watchlist":true,"tagline":false,"nearby":true},"wgWMESchemaEditAttemptStepOversample":false,"wgWMEPageLength":200000,"wgEditSubmitButtonLabelPublish":true,"wgULSPosition":"interlanguage","wgULSisCompactLinksEnabled":false,"wgVector2022LanguageInHeader":true,"wgULSisLanguageSelectorEmpty":false,"wgWikibaseItemId":"Q185867","wgCheckUserClientHintsHeadersJsApi":["brands","architecture","bitness","fullVersionList","mobile","model","platform","platformVersion"],"GEHomepageSuggestedEditsEnableTopics":true,"wgGETopicsMatchModeEnabled":false,"wgGELevelingUpEnabledForUser":false}; RLSTATE={"ext.globalCssJs.user.styles":"ready","site.styles":"ready","user.styles":"ready","ext.globalCssJs.user":"ready","user":"ready","user.options":"loading","ext.cite.styles":"ready","ext.tmh.player.styles":"ready","skins.vector.search.codex.styles":"ready","skins.vector.styles":"ready","skins.vector.icons":"ready","jquery.makeCollapsible.styles":"ready","ext.wikimediamessages.styles":"ready","ext.visualEditor.desktopArticleTarget.noscript":"ready","ext.uls.interlanguage":"ready","wikibase.client.init":"ready","ext.wikimediaBadges":"ready"};RLPAGEMODULES=["ext.cite.ux-enhancements","mediawiki.page.media","ext.tmh.player","site","mediawiki.page.ready","jquery.makeCollapsible","mediawiki.toc","skins.vector.js","ext.centralNotice.geoIP","ext.centralNotice.startUp","ext.gadget.ReferenceTooltips","ext.gadget.switcher","ext.urlShortener.toolbar","ext.centralauth.centralautologin","mmv.bootstrap","ext.popups","ext.visualEditor.desktopArticleTarget.init","ext.visualEditor.targetLoader","ext.echo.centralauth","ext.eventLogging","ext.wikimediaEvents","ext.navigationTiming","ext.uls.interface","ext.cx.eventlogging.campaigns","ext.cx.uls.quick.actions","wikibase.client.vector-2022","ext.checkUser.clientHints","ext.growthExperiments.SuggestedEditSession"];</script> <script>(RLQ=window.RLQ||[]).push(function(){mw.loader.impl(function(){return["user.options@12s5i",function($,jQuery,require,module){mw.user.tokens.set({"patrolToken":"+\\","watchToken":"+\\","csrfToken":"+\\"}); }];});});</script> <link rel="stylesheet" href="/w/load.php?lang=en&modules=ext.cite.styles%7Cext.tmh.player.styles%7Cext.uls.interlanguage%7Cext.visualEditor.desktopArticleTarget.noscript%7Cext.wikimediaBadges%7Cext.wikimediamessages.styles%7Cjquery.makeCollapsible.styles%7Cskins.vector.icons%2Cstyles%7Cskins.vector.search.codex.styles%7Cwikibase.client.init&only=styles&skin=vector-2022"> <script async="" src="/w/load.php?lang=en&modules=startup&only=scripts&raw=1&skin=vector-2022"></script> <meta name="ResourceLoaderDynamicStyles" content=""> <link rel="stylesheet" href="/w/load.php?lang=en&modules=site.styles&only=styles&skin=vector-2022"> <meta name="generator" content="MediaWiki 1.44.0-wmf.21"> <meta name="referrer" content="origin"> <meta name="referrer" content="origin-when-cross-origin"> <meta name="robots" content="max-image-preview:standard"> <meta name="format-detection" content="telephone=no"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/1200px-BigComboTrailer.jpg"> <meta property="og:image:width" content="1200"> <meta property="og:image:height" content="675"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/800px-BigComboTrailer.jpg"> <meta property="og:image:width" content="800"> <meta property="og:image:height" content="450"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/640px-BigComboTrailer.jpg"> <meta property="og:image:width" content="640"> <meta property="og:image:height" content="360"> <meta name="viewport" content="width=1120"> <meta property="og:title" content="Film noir - Wikipedia"> <meta property="og:type" content="website"> <link rel="preconnect" href="//upload.wikimedia.org"> <link rel="alternate" media="only screen and (max-width: 640px)" href="//en.m.wikipedia.org/wiki/Film_noir"> <link rel="alternate" type="application/x-wiki" title="Edit this page" href="/w/index.php?title=Film_noir&action=edit"> <link rel="apple-touch-icon" href="/static/apple-touch/wikipedia.png"> <link rel="icon" href="/static/favicon/wikipedia.ico"> <link rel="search" type="application/opensearchdescription+xml" href="/w/rest.php/v1/search" title="Wikipedia (en)"> <link rel="EditURI" type="application/rsd+xml" href="//en.wikipedia.org/w/api.php?action=rsd"> <link rel="canonical" href="https://en.wikipedia.org/wiki/Film_noir"> <link rel="license" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en"> <link rel="alternate" type="application/atom+xml" title="Wikipedia Atom feed" href="/w/index.php?title=Special:RecentChanges&feed=atom"> <link rel="dns-prefetch" href="//meta.wikimedia.org" /> <link rel="dns-prefetch" href="login.wikimedia.org"> </head> <body class="skin--responsive skin-vector skin-vector-search-vue mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject mw-editable page-Film_noir rootpage-Film_noir skin-vector-2022 action-view"><a class="mw-jump-link" href="#bodyContent">Jump to content</a> <div class="vector-header-container"> <header class="vector-header mw-header"> <div class="vector-header-start"> <nav class="vector-main-menu-landmark" aria-label="Site"> <div id="vector-main-menu-dropdown" class="vector-dropdown vector-main-menu-dropdown vector-button-flush-left vector-button-flush-right" title="Main menu" > <input type="checkbox" id="vector-main-menu-dropdown-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-main-menu-dropdown" class="vector-dropdown-checkbox " aria-label="Main menu" > <label id="vector-main-menu-dropdown-label" for="vector-main-menu-dropdown-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Main menu </label> <div class="vector-dropdown-content"> <div id="vector-main-menu-unpinned-container" class="vector-unpinned-container"> <div id="vector-main-menu" class="vector-main-menu vector-pinnable-element"> <div class="vector-pinnable-header vector-main-menu-pinnable-header vector-pinnable-header-unpinned" data-feature-name="main-menu-pinned" data-pinnable-element-id="vector-main-menu" data-pinned-container-id="vector-main-menu-pinned-container" data-unpinned-container-id="vector-main-menu-unpinned-container" > <div class="vector-pinnable-header-label">Main menu</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-main-menu.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-main-menu.unpin">hide</button> </div> <div id="p-navigation" class="vector-menu mw-portlet mw-portlet-navigation" > <div class="vector-menu-heading"> Navigation </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="n-mainpage-description" class="mw-list-item"><a href="/wiki/Main_Page" title="Visit the main page [z]" accesskey="z">Main page</a></li><li id="n-contents" class="mw-list-item"><a href="/wiki/Wikipedia:Contents" title="Guides to browsing Wikipedia">Contents</a></li><li id="n-currentevents" class="mw-list-item"><a href="/wiki/Portal:Current_events" title="Articles related to current events">Current events</a></li><li id="n-randompage" class="mw-list-item"><a href="/wiki/Special:Random" title="Visit a randomly selected article [x]" accesskey="x">Random article</a></li><li id="n-aboutsite" class="mw-list-item"><a href="/wiki/Wikipedia:About" title="Learn about Wikipedia and how it works">About Wikipedia</a></li><li id="n-contactpage" class="mw-list-item"><a href="//en.wikipedia.org/wiki/Wikipedia:Contact_us" title="How to contact Wikipedia">Contact us</a></li> </ul> </div> </div> <div id="p-interaction" class="vector-menu mw-portlet mw-portlet-interaction" > <div class="vector-menu-heading"> Contribute </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="n-help" class="mw-list-item"><a href="/wiki/Help:Contents" title="Guidance on how to use and edit Wikipedia">Help</a></li><li id="n-introduction" class="mw-list-item"><a href="/wiki/Help:Introduction" title="Learn how to edit Wikipedia">Learn to edit</a></li><li id="n-portal" class="mw-list-item"><a href="/wiki/Wikipedia:Community_portal" title="The hub for editors">Community portal</a></li><li id="n-recentchanges" class="mw-list-item"><a href="/wiki/Special:RecentChanges" title="A list of recent changes to Wikipedia [r]" accesskey="r">Recent changes</a></li><li id="n-upload" class="mw-list-item"><a href="/wiki/Wikipedia:File_upload_wizard" title="Add images or other media for use on Wikipedia">Upload file</a></li><li id="n-specialpages" class="mw-list-item"><a href="/wiki/Special:SpecialPages">Special pages</a></li> </ul> </div> </div> </div> </div> </div> </div> </nav> <a href="/wiki/Main_Page" class="mw-logo"> <img class="mw-logo-icon" src="/static/images/icons/wikipedia.png" alt="" aria-hidden="true" height="50" width="50"> <img class="mw-logo-wordmark" alt="Wikipedia" src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" style="width: 7.5em; height: 1.125em;"> <img class="mw-logo-tagline" alt="The Free Encyclopedia" src="/static/images/mobile/copyright/wikipedia-tagline-en.svg" width="117" height="13" style="width: 7.3125em; height: 0.8125em;"> </a> </div> <div class="vector-header-end"> <div id="p-search" role="search" class="vector-search-box-vue vector-search-box-collapses vector-search-box-show-thumbnail vector-search-box-auto-expand-width vector-search-box"> <a href="/wiki/Special:Search" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only search-toggle" title="Search Wikipedia [f]" accesskey="f"> Search </a> <div class="vector-typeahead-search-container"> <div class="cdx-typeahead-search cdx-typeahead-search--show-thumbnail cdx-typeahead-search--auto-expand-width"> <form action="/w/index.php" id="searchform" class="cdx-search-input cdx-search-input--has-end-button"> <div id="simpleSearch" class="cdx-search-input__input-wrapper" data-search-loc="header-moved"> <div class="cdx-text-input cdx-text-input--has-start-icon"> <input class="cdx-text-input__input" type="search" name="search" placeholder="Search Wikipedia" aria-label="Search Wikipedia" autocapitalize="sentences" title="Search Wikipedia [f]" accesskey="f" id="searchInput" > </div> <input type="hidden" name="title" value="Special:Search"> </div> <button class="cdx-button cdx-search-input__end-button">Search</button> </form> </div> </div> </div> <nav class="vector-user-links vector-user-links-wide" aria-label="Personal tools"> <div class="vector-user-links-main"> <div id="p-vector-user-menu-preferences" class="vector-menu mw-portlet emptyPortlet" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> </ul> </div> </div> <div id="p-vector-user-menu-userpage" class="vector-menu mw-portlet emptyPortlet" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> </ul> </div> </div> <nav class="vector-appearance-landmark" aria-label="Appearance"> <div id="vector-appearance-dropdown" class="vector-dropdown " title="Change the appearance of the page's font size, width, and color" > <input type="checkbox" id="vector-appearance-dropdown-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-appearance-dropdown" class="vector-dropdown-checkbox " aria-label="Appearance" > <label id="vector-appearance-dropdown-label" for="vector-appearance-dropdown-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Appearance </label> <div class="vector-dropdown-content"> <div id="vector-appearance-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <div id="p-vector-user-menu-notifications" class="vector-menu mw-portlet emptyPortlet" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> </ul> </div> </div> <div id="p-vector-user-menu-overflow" class="vector-menu mw-portlet" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-sitesupport-2" class="user-links-collapsible-item mw-list-item user-links-collapsible-item"><a data-mw="interface" href="https://donate.wikimedia.org/?wmf_source=donate&wmf_medium=sidebar&wmf_campaign=en.wikipedia.org&uselang=en" class="">Donate</a> </li> <li id="pt-createaccount-2" class="user-links-collapsible-item mw-list-item user-links-collapsible-item"><a data-mw="interface" href="/w/index.php?title=Special:CreateAccount&returnto=Film+noir" title="You are encouraged to create an account and log in; however, it is not mandatory" class="">Create account</a> </li> <li id="pt-login-2" class="user-links-collapsible-item mw-list-item user-links-collapsible-item"><a data-mw="interface" href="/w/index.php?title=Special:UserLogin&returnto=Film+noir" title="You're encouraged to log in; however, it's not mandatory. [o]" accesskey="o" class="">Log in</a> </li> </ul> </div> </div> </div> <div id="vector-user-links-dropdown" class="vector-dropdown vector-user-menu vector-button-flush-right vector-user-menu-logged-out" title="Log in and more options" > <input type="checkbox" id="vector-user-links-dropdown-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-user-links-dropdown" class="vector-dropdown-checkbox " aria-label="Personal tools" > <label id="vector-user-links-dropdown-label" for="vector-user-links-dropdown-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Personal tools </label> <div class="vector-dropdown-content"> <div id="p-personal" class="vector-menu mw-portlet mw-portlet-personal user-links-collapsible-item" title="User menu" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-sitesupport" class="user-links-collapsible-item mw-list-item"><a href="https://donate.wikimedia.org/?wmf_source=donate&wmf_medium=sidebar&wmf_campaign=en.wikipedia.org&uselang=en">Donate</a></li><li id="pt-createaccount" class="user-links-collapsible-item mw-list-item"><a href="/w/index.php?title=Special:CreateAccount&returnto=Film+noir" title="You are encouraged to create an account and log in; however, it is not mandatory"> Create account</a></li><li id="pt-login" class="user-links-collapsible-item mw-list-item"><a href="/w/index.php?title=Special:UserLogin&returnto=Film+noir" title="You're encouraged to log in; however, it's not mandatory. [o]" accesskey="o"> Log in</a></li> </ul> </div> </div> <div id="p-user-menu-anon-editor" class="vector-menu mw-portlet mw-portlet-user-menu-anon-editor" > <div class="vector-menu-heading"> Pages for logged out editors <a href="/wiki/Help:Introduction" aria-label="Learn more about editing">learn more</a> </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-anoncontribs" class="mw-list-item"><a href="/wiki/Special:MyContributions" title="A list of edits made from this IP address [y]" accesskey="y">Contributions</a></li><li id="pt-anontalk" class="mw-list-item"><a href="/wiki/Special:MyTalk" title="Discussion about edits from this IP address [n]" accesskey="n">Talk</a></li> </ul> </div> </div> </div> </div> </nav> </div> </header> </div> <div class="mw-page-container"> <div class="mw-page-container-inner"> <div class="vector-sitenotice-container"> <div id="siteNotice"></div> </div> <div class="vector-column-start"> <div class="vector-main-menu-container"> <div id="mw-navigation"> <nav id="mw-panel" class="vector-main-menu-landmark" aria-label="Site"> <div id="vector-main-menu-pinned-container" class="vector-pinned-container"> </div> </nav> </div> </div> <div class="vector-sticky-pinned-container"> <nav id="mw-panel-toc" aria-label="Contents" data-event-name="ui.sidebar-toc" class="mw-table-of-contents-container vector-toc-landmark"> <div id="vector-toc-pinned-container" class="vector-pinned-container"> <div id="vector-toc" class="vector-toc vector-pinnable-element"> <div class="vector-pinnable-header vector-toc-pinnable-header vector-pinnable-header-pinned" data-feature-name="toc-pinned" data-pinnable-element-id="vector-toc" > <h2 class="vector-pinnable-header-label">Contents</h2> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-Definition" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Definition"> <div class="vector-toc-text"> 1 Definition </div> </a> <ul id="toc-Definition-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Background" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Background"> <div class="vector-toc-text"> 2 Background </div> </a> <button aria-controls="toc-Background-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Background subsection </button> <ul id="toc-Background-sublist" class="vector-toc-list"> <li id="toc-Cinematic_sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Cinematic_sources"> <div class="vector-toc-text"> 2.1 Cinematic sources </div> </a> <ul id="toc-Cinematic_sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Literary_sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Literary_sources"> <div class="vector-toc-text"> 2.2 Literary sources </div> </a> <ul id="toc-Literary_sources-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Classic_period" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Classic_period"> <div class="vector-toc-text"> 3 Classic period </div> </a> <button aria-controls="toc-Classic_period-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Classic period subsection </button> <ul id="toc-Classic_period-sublist" class="vector-toc-list"> <li id="toc-Overview" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Overview"> <div class="vector-toc-text"> 3.1 Overview </div> </a> <ul id="toc-Overview-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Directors_and_the_business_of_noir" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Directors_and_the_business_of_noir"> <div class="vector-toc-text"> 3.2 Directors and the business of noir </div> </a> <ul id="toc-Directors_and_the_business_of_noir-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Outside_the_United_States" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Outside_the_United_States"> <div class="vector-toc-text"> 4 Outside the United States </div> </a> <ul id="toc-Outside_the_United_States-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Neo-noir_and_echoes_of_the_classic_mode" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Neo-noir_and_echoes_of_the_classic_mode"> <div class="vector-toc-text"> 5 Neo-noir and echoes of the classic mode </div> </a> <button aria-controls="toc-Neo-noir_and_echoes_of_the_classic_mode-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Neo-noir and echoes of the classic mode subsection </button> <ul id="toc-Neo-noir_and_echoes_of_the_classic_mode-sublist" class="vector-toc-list"> <li id="toc-1960s_and_1970s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1960s_and_1970s"> <div class="vector-toc-text"> 5.1 1960s and 1970s </div> </a> <ul id="toc-1960s_and_1970s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1980s_and_1990s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1980s_and_1990s"> <div class="vector-toc-text"> 5.2 1980s and 1990s </div> </a> <ul id="toc-1980s_and_1990s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Neon-noir" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Neon-noir"> <div class="vector-toc-text"> 5.3 Neon-noir </div> </a> <ul id="toc-Neon-noir-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-2000s_and_2010s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#2000s_and_2010s"> <div class="vector-toc-text"> 5.4 2000s and 2010s </div> </a> <ul id="toc-2000s_and_2010s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-2020s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#2020s"> <div class="vector-toc-text"> 5.5 2020s </div> </a> <ul id="toc-2020s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Science_fiction_noir" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Science_fiction_noir"> <div class="vector-toc-text"> 5.6 Science fiction noir </div> </a> <ul id="toc-Science_fiction_noir-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Rural/outback_noir" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rural/outback_noir"> <div class="vector-toc-text"> 5.7 Rural/outback noir </div> </a> <ul id="toc-Rural/outback_noir-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Parodies" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Parodies"> <div class="vector-toc-text"> 6 Parodies </div> </a> <ul id="toc-Parodies-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Identifying_characteristics" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Identifying_characteristics"> <div class="vector-toc-text"> 7 Identifying characteristics </div> </a> <button aria-controls="toc-Identifying_characteristics-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Identifying characteristics subsection </button> <ul id="toc-Identifying_characteristics-sublist" class="vector-toc-list"> <li id="toc-Visual_style" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Visual_style"> <div class="vector-toc-text"> 7.1 Visual style </div> </a> <ul id="toc-Visual_style-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Structure_and_narrational_devices" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Structure_and_narrational_devices"> <div class="vector-toc-text"> 7.2 Structure and narrational devices </div> </a> <ul id="toc-Structure_and_narrational_devices-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Plots,_characters,_and_settings" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Plots,_characters,_and_settings"> <div class="vector-toc-text"> 7.3 Plots, characters, and settings </div> </a> <ul id="toc-Plots,_characters,_and_settings-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Worldview,_morality,_and_tone" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Worldview,_morality,_and_tone"> <div class="vector-toc-text"> 7.4 Worldview, morality, and tone </div> </a> <ul id="toc-Worldview,_morality,_and_tone-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Music"> <div class="vector-toc-text"> 7.5 Music </div> </a> <ul id="toc-Music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 8 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 9 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Citations" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Citations"> <div class="vector-toc-text"> 10 Citations </div> </a> <ul id="toc-Citations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> 11 Sources </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Suggested_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Suggested_reading"> <div class="vector-toc-text"> 12 Suggested reading </div> </a> <ul id="toc-Suggested_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Suggested_listening" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Suggested_listening"> <div class="vector-toc-text"> 13 Suggested listening </div> </a> <ul id="toc-Suggested_listening-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 14 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Film noir</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 53 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-53" aria-hidden="true" > 53 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Film_noir" title="Film noir – Afrikaans" lang="af" hreflang="af" data-title="Film noir" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%81%D9%8A%D9%84%D9%85_%D9%86%D9%88%D8%A7%D8%B1" title="فيلم نوار – Arabic" lang="ar" hreflang="ar" data-title="فيلم نوار" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-an mw-list-item"><a href="https://an.wikipedia.org/wiki/Cine_negro" title="Cine negro – Aragonese" lang="an" hreflang="an" data-title="Cine negro" data-language-autonym="Aragonés" data-language-local-name="Aragonese" class="interlanguage-link-target">Aragonés</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%A8%E0%A7%8B%E0%A6%AF%E0%A6%BC%E0%A6%BE%E0%A6%B0_%E0%A6%9A%E0%A6%B2%E0%A6%9A%E0%A7%8D%E0%A6%9A%E0%A6%BF%E0%A6%A4%E0%A7%8D%E0%A6%B0" title="নোয়ার চলচ্চিত্র – Bangla" lang="bn" hreflang="bn" data-title="নোয়ার চলচ্চিত্র" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A4%D0%B8%D0%BB%D0%BC_%D0%BD%D0%BE%D0%B0%D1%80" title="Филм ноар – Bulgarian" lang="bg" hreflang="bg" data-title="Филм ноар" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Cinema_negre" title="Cinema negre – Catalan" lang="ca" hreflang="ca" data-title="Cinema negre" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Film_noir" title="Film noir – Czech" lang="cs" hreflang="cs" data-title="Film noir" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Film_noir" title="Film noir – Danish" lang="da" hreflang="da" data-title="Film noir" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://de.wikipedia.org/wiki/Film_noir" title="Film noir – German" lang="de" hreflang="de" data-title="Film noir" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Film_noir" title="Film noir – Estonian" lang="et" hreflang="et" data-title="Film noir" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A6%CE%B9%CE%BB%CE%BC_%CE%BD%CE%BF%CF%85%CE%AC%CF%81" title="Φιλμ νουάρ – Greek" lang="el" hreflang="el" data-title="Φιλμ νουάρ" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Cine_negro" title="Cine negro – Spanish" lang="es" hreflang="es" data-title="Cine negro" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Nigra_filmo" title="Nigra filmo – Esperanto" lang="eo" hreflang="eo" data-title="Nigra filmo" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Zinema_beltz" title="Zinema beltz – Basque" lang="eu" hreflang="eu" data-title="Zinema beltz" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%81%DB%8C%D9%84%D9%85_%D9%86%D9%88%D8%A2%D8%B1" title="فیلم نوآر – Persian" lang="fa" hreflang="fa" data-title="فیلم نوآر" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Film_noir" title="Film noir – French" lang="fr" hreflang="fr" data-title="Film noir" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Film_noir" title="Film noir – Western Frisian" lang="fy" hreflang="fy" data-title="Film noir" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target">Frysk</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Cinema_negro" title="Cinema negro – Galician" lang="gl" hreflang="gl" data-title="Cinema negro" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%88%84%EC%95%84%EB%A5%B4_%EC%98%81%ED%99%94" title="누아르 영화 – Korean" lang="ko" hreflang="ko" data-title="누아르 영화" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%86%D5%B8%D6%82%D5%A1%D6%80_%D6%86%D5%AB%D5%AC%D5%B4" title="Նուար ֆիլմ – Armenian" lang="hy" hreflang="hy" data-title="Նուար ֆիլմ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Film_noir" title="Film noir – Croatian" lang="hr" hreflang="hr" data-title="Film noir" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Filmo_nigra" title="Filmo nigra – Ido" lang="io" hreflang="io" data-title="Filmo nigra" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target">Ido</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Film_noir" title="Film noir – Indonesian" lang="id" hreflang="id" data-title="Film noir" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Film_noir" title="Film noir – Italian" lang="it" hreflang="it" data-title="Film noir" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A4%D7%99%D7%9C%D7%9D_%D7%A0%D7%95%D7%90%D7%A8" title="פילם נואר – Hebrew" lang="he" hreflang="he" data-title="פילם נואר" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Filamu_za_noir" title="Filamu za noir – Swahili" lang="sw" hreflang="sw" data-title="Filamu za noir" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target">Kiswahili</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Film_noir" title="Film noir – Latvian" lang="lv" hreflang="lv" data-title="Film noir" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lb mw-list-item"><a href="https://lb.wikipedia.org/wiki/Film_noir" title="Film noir – Luxembourgish" lang="lb" hreflang="lb" data-title="Film noir" data-language-autonym="Lëtzebuergesch" data-language-local-name="Luxembourgish" class="interlanguage-link-target">Lëtzebuergesch</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Film_noir" title="Film noir – Lithuanian" lang="lt" hreflang="lt" data-title="Film noir" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Film_noir" title="Film noir – Hungarian" lang="hu" hreflang="hu" data-title="Film noir" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A4%D0%B8%D0%BB%D0%BC_%D0%BD%D0%BE%D0%B0%D1%80" title="Филм ноар – Macedonian" lang="mk" hreflang="mk" data-title="Филм ноар" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Filem_noir" title="Filem noir – Malay" lang="ms" hreflang="ms" data-title="Filem noir" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl badge-Q17437796 badge-featuredarticle mw-list-item" title="featured article badge"><a href="https://nl.wikipedia.org/wiki/Film_noir" title="Film noir – Dutch" lang="nl" hreflang="nl" data-title="Film noir" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A3%E3%83%AB%E3%83%A0%E3%83%BB%E3%83%8E%E3%83%AF%E3%83%BC%E3%83%AB" title="フィルム・ノワール – Japanese" lang="ja" hreflang="ja" data-title="フィルム・ノワール" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Film_noir" title="Film noir – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Film noir" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Film_noir" title="Film noir – Polish" lang="pl" hreflang="pl" data-title="Film noir" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Film_noir" title="Film noir – Portuguese" lang="pt" hreflang="pt" data-title="Film noir" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Film_noir" title="Film noir – Romanian" lang="ro" hreflang="ro" data-title="Film noir" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9D%D1%83%D0%B0%D1%80" title="Нуар – Russian" lang="ru" hreflang="ru" data-title="Нуар" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Film_noir" title="Film noir – Simple English" lang="en-simple" hreflang="en-simple" data-title="Film noir" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Film_noir" title="Film noir – Slovak" lang="sk" hreflang="sk" data-title="Film noir" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D9%81%DB%8C%D9%84%D9%85%DB%8C_%D9%86%D9%88%D8%A7%D8%B1" title="فیلمی نوار – Central Kurdish" lang="ckb" hreflang="ckb" data-title="فیلمی نوار" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%A4%D0%B8%D0%BB%D0%BC_%D0%BD%D0%BE%D0%B0%D1%80" title="Филм ноар – Serbian" lang="sr" hreflang="sr" data-title="Филм ноар" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Film_noir" title="Film noir – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Film noir" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Film_noir" title="Film noir – Finnish" lang="fi" hreflang="fi" data-title="Film noir" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Film_noir" title="Film noir – Swedish" lang="sv" hreflang="sv" data-title="Film noir" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%9F%E0%B8%B4%E0%B8%A5%E0%B9%8C%E0%B8%A1%E0%B8%99%E0%B8%B1%E0%B8%A7%E0%B8%A3%E0%B9%8C" title="ฟิล์มนัวร์ – Thai" lang="th" hreflang="th" data-title="ฟิล์มนัวร์" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Kara_film" title="Kara film – Turkish" lang="tr" hreflang="tr" data-title="Kara film" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9D%D1%83%D0%B0%D1%80_(%D0%BA%D1%96%D0%BD%D0%BE)" title="Нуар (кіно) – Ukrainian" lang="uk" hreflang="uk" data-title="Нуар (кіно)" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D9%86%D9%88%D8%A7%D8%B1_%D9%81%D9%84%D9%85" title="نوار فلم – Urdu" lang="ur" hreflang="ur" data-title="نوار فلم" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target">اردو</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Phim_noir" title="Phim noir – Vietnamese" lang="vi" hreflang="vi" data-title="Phim noir" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E9%BB%91%E8%89%B2%E9%9B%BB%E5%BD%B1" title="黑色電影 – Cantonese" lang="yue" hreflang="yue" data-title="黑色電影" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E9%BB%91%E8%89%B2%E7%94%B5%E5%BD%B1" title="黑色电影 – Chinese" lang="zh" hreflang="zh" data-title="黑色电影" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li> </ul> <div class="after-portlet after-portlet-lang"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q185867#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-nstab-main" class="selected vector-tab-noicon mw-list-item"><a href="/wiki/Film_noir" title="View the content page [c]" accesskey="c">Article</a></li><li id="ca-talk" class="vector-tab-noicon mw-list-item"><a href="/wiki/Talk:Film_noir" rel="discussion" title="Discuss improvements to the content page [t]" accesskey="t">Talk</a></li> </ul> </div> </div> <div id="vector-variants-dropdown" class="vector-dropdown emptyPortlet" > <input type="checkbox" id="vector-variants-dropdown-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-variants-dropdown" class="vector-dropdown-checkbox " aria-label="Change language variant" > <label id="vector-variants-dropdown-label" for="vector-variants-dropdown-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet" aria-hidden="true" >English </label> <div class="vector-dropdown-content"> <div id="p-variants" class="vector-menu mw-portlet mw-portlet-variants emptyPortlet" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> </ul> </div> </div> </div> </div> </nav> </div> <div id="right-navigation" class="vector-collapsible"> <nav aria-label="Views"> <div id="p-views" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-views" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-view" class="selected vector-tab-noicon mw-list-item"><a href="/wiki/Film_noir">Read</a></li><li id="ca-edit" class="vector-tab-noicon mw-list-item"><a href="/w/index.php?title=Film_noir&action=edit" title="Edit this page [e]" accesskey="e">Edit</a></li><li id="ca-history" class="vector-tab-noicon mw-list-item"><a href="/w/index.php?title=Film_noir&action=history" title="Past revisions of this page [h]" accesskey="h">View history</a></li> </ul> </div> </div> </nav> <nav class="vector-page-tools-landmark" aria-label="Page tools"> <div id="vector-page-tools-dropdown" class="vector-dropdown vector-page-tools-dropdown" > <input type="checkbox" id="vector-page-tools-dropdown-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-tools-dropdown" class="vector-dropdown-checkbox " aria-label="Tools" > <label id="vector-page-tools-dropdown-label" for="vector-page-tools-dropdown-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet" aria-hidden="true" >Tools </label> <div class="vector-dropdown-content"> <div id="vector-page-tools-unpinned-container" class="vector-unpinned-container"> <div id="vector-page-tools" class="vector-page-tools vector-pinnable-element"> <div class="vector-pinnable-header vector-page-tools-pinnable-header vector-pinnable-header-unpinned" data-feature-name="page-tools-pinned" data-pinnable-element-id="vector-page-tools" data-pinned-container-id="vector-page-tools-pinned-container" data-unpinned-container-id="vector-page-tools-unpinned-container" > <div class="vector-pinnable-header-label">Tools</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-page-tools.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-page-tools.unpin">hide</button> </div> <div id="p-cactions" class="vector-menu mw-portlet mw-portlet-cactions emptyPortlet vector-has-collapsible-items" title="More options" > <div class="vector-menu-heading"> Actions </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-more-view" class="selected vector-more-collapsible-item mw-list-item"><a href="/wiki/Film_noir">Read</a></li><li id="ca-more-edit" class="vector-more-collapsible-item mw-list-item"><a href="/w/index.php?title=Film_noir&action=edit" title="Edit this page [e]" accesskey="e">Edit</a></li><li id="ca-more-history" class="vector-more-collapsible-item mw-list-item"><a href="/w/index.php?title=Film_noir&action=history">View history</a></li> </ul> </div> </div> <div id="p-tb" class="vector-menu mw-portlet mw-portlet-tb" > <div class="vector-menu-heading"> General </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="t-whatlinkshere" class="mw-list-item"><a href="/wiki/Special:WhatLinksHere/Film_noir" title="List of all English Wikipedia pages containing links to this page [j]" accesskey="j">What links here</a></li><li id="t-recentchangeslinked" class="mw-list-item"><a href="/wiki/Special:RecentChangesLinked/Film_noir" rel="nofollow" title="Recent changes in pages linked from this page [k]" accesskey="k">Related changes</a></li><li id="t-upload" class="mw-list-item"><a href="//en.wikipedia.org/wiki/Wikipedia:File_Upload_Wizard" title="Upload files [u]" accesskey="u">Upload file</a></li><li id="t-permalink" class="mw-list-item"><a href="/w/index.php?title=Film_noir&oldid=1281482322" title="Permanent link to this revision of this page">Permanent link</a></li><li id="t-info" class="mw-list-item"><a href="/w/index.php?title=Film_noir&action=info" title="More information about this page">Page information</a></li><li id="t-cite" class="mw-list-item"><a href="/w/index.php?title=Special:CiteThisPage&page=Film_noir&id=1281482322&wpFormIdentifier=titleform" title="Information on how to cite this page">Cite this page</a></li><li id="t-urlshortener" class="mw-list-item"><a href="/w/index.php?title=Special:UrlShortener&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FFilm_noir">Get shortened URL</a></li><li id="t-urlshortener-qrcode" class="mw-list-item"><a href="/w/index.php?title=Special:QrCode&url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FFilm_noir">Download QR code</a></li> </ul> </div> </div> <div id="p-coll-print_export" class="vector-menu mw-portlet mw-portlet-coll-print_export" > <div class="vector-menu-heading"> Print/export </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="coll-download-as-rl" class="mw-list-item"><a href="/w/index.php?title=Special:DownloadAsPdf&page=Film_noir&action=show-download-screen" title="Download this page as a PDF file">Download as PDF</a></li><li id="t-print" class="mw-list-item"><a href="/w/index.php?title=Film_noir&printable=yes" title="Printable version of this page [p]" accesskey="p">Printable version</a></li> </ul> </div> </div> <div id="p-wikibase-otherprojects" class="vector-menu mw-portlet mw-portlet-wikibase-otherprojects" > <div class="vector-menu-heading"> In other projects </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="wb-otherproject-link wb-otherproject-commons mw-list-item"><a href="https://commons.wikimedia.org/wiki/Category:Film_noir" hreflang="en">Wikimedia Commons</a></li><li id="t-wikibase" class="wb-otherproject-link wb-otherproject-wikibase-dataitem mw-list-item"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q185867" title="Structured data on this page hosted by Wikidata [g]" accesskey="g">Wikidata item</a></li> </ul> </div> </div> </div> </div> </div> </div> </nav> </div> </div> </div> <div class="vector-column-end"> <div class="vector-sticky-pinned-container"> <nav class="vector-page-tools-landmark" aria-label="Page tools"> <div id="vector-page-tools-pinned-container" class="vector-pinned-container"> </div> </nav> <nav class="vector-appearance-landmark" aria-label="Appearance"> <div id="vector-appearance-pinned-container" class="vector-pinned-container"> <div id="vector-appearance" class="vector-appearance vector-pinnable-element"> <div class="vector-pinnable-header vector-appearance-pinnable-header vector-pinnable-header-pinned" data-feature-name="appearance-pinned" data-pinnable-element-id="vector-appearance" data-pinned-container-id="vector-appearance-pinned-container" data-unpinned-container-id="vector-appearance-unpinned-container" > <div class="vector-pinnable-header-label">Appearance</div> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-pin-button" data-event-name="pinnable-header.vector-appearance.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-appearance.unpin">hide</button> </div> </div> </div> </nav> </div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> <div id="mw-indicator-spoken-icon" class="mw-indicator"><div class="mw-parser-output"><a href="/wiki/File:Film_Noir.ogg" title="Listen to this article"><img alt="Listen to this article" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/20px-Sound-icon.svg.png" decoding="async" width="20" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/30px-Sound-icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/40px-Sound-icon.svg.png 2x" data-file-width="128" data-file-height="96" /></a></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Style of crime drama films</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"Film Noir" redirects here. For the Carly Simon album, see <a href="/wiki/Film_Noir_(album)" title="Film Noir (album)">Film Noir (album)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><caption class="infobox-title summary">Film noir</caption><tbody><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:BigComboTrailer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/220px-BigComboTrailer.jpg" decoding="async" width="220" height="124" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/330px-BigComboTrailer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/440px-BigComboTrailer.jpg 2x" data-file-width="1920" data-file-height="1080" /></a><div class="infobox-caption">Two silhouetted figures in <a href="/wiki/The_Big_Combo" title="The Big Combo">The Big Combo</a> (1955). The film's <a href="/wiki/Cinematography" title="Cinematography">cinematographer</a>, <a href="/wiki/John_Alton" title="John Alton">John Alton</a>, is sometimes credited as the creator of many of film noir's stylized images.</div></td></tr><tr><th scope="row" class="infobox-label">Years active</th><td class="infobox-data"><a class="mw-selflink-fragment" href="#Classic_period">Classic period</a>: 1940s and 1950s; earlier films are often referred to as proto-noirs and later films as <a href="/wiki/Neo-noir" title="Neo-noir">neo-noirs</a></td></tr><tr><th scope="row" class="infobox-label">Location</th><td class="infobox-data">United States</td></tr><tr><th scope="row" class="infobox-label">Major figures</th><td class="infobox-data"><a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a> <a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a> <a href="/wiki/Peter_Lorre" title="Peter Lorre">Peter Lorre</a> <a href="/wiki/Robert_Ryan" title="Robert Ryan">Robert Ryan</a></td></tr><tr><th scope="row" class="infobox-label">Influences</th><td class="infobox-data"> <ul><li><a href="/wiki/German_expressionist_cinema" title="German expressionist cinema">German Expressionism</a></li> <li><a href="/wiki/Poetic_realism" title="Poetic realism">French poetic realism</a></li> <li><a href="/wiki/Italian_neorealism" title="Italian neorealism">Italian neorealism</a></li> <li><a href="/wiki/Hardboiled" title="Hardboiled">American hardboiled fiction</a></li></ul> </td></tr><tr><th scope="row" class="infobox-label">Influenced</th><td class="infobox-data"> <ul><li><a href="/wiki/French_New_Wave" title="French New Wave">French New Wave</a></li> <li><a href="/wiki/Neo-noir" title="Neo-noir">Neo-noir</a></li> <li><a href="/wiki/Tech_noir" title="Tech noir">Tech noir</a></li></ul> </td></tr></tbody></table> Film noir (<a href="/wiki/Help:IPA/English" title="Help:IPA/English">/nwɑːr/</a>; <style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style>French: <a href="/wiki/Help:IPA/French" title="Help:IPA/French">[film nwaʁ]</a>) is a style of <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">Hollywood</a> <a href="/wiki/Crime_film" title="Crime film">crime dramas</a> that emphasizes <a href="/wiki/Cynicism_(contemporary)" title="Cynicism (contemporary)">cynical</a> attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a <a href="/wiki/Low-key_lighting" title="Low-key lighting">low-key</a>, <a href="/wiki/Black-and-white" title="Black-and-white">black-and-white</a> visual style that has roots in <a href="/wiki/German_expressionist_cinema" title="German expressionist cinema">German expressionist cinematography</a>. Many of the prototypical stories and attitudes expressed in classic noir derive from the <a href="/wiki/Hardboiled" title="Hardboiled">hardboiled</a> school of <a href="/wiki/Crime_fiction" title="Crime fiction">crime fiction</a> that emerged in the United States during the <a href="/wiki/Great_Depression" title="Great Depression">Great Depression</a>, known as <a href="/wiki/Noir_fiction" title="Noir fiction">noir fiction</a>.<a href="#cite_note-1">[1]</a> The term film noir, French for "black film" (literal) or "dark film" (closer meaning),<a href="#cite_note-2">[2]</a> was first applied to <a href="/wiki/Hollywood_film" class="mw-redirect" title="Hollywood film">Hollywood films</a> by French critic <a href="/wiki/Nino_Frank" title="Nino Frank">Nino Frank</a> in 1946, but was unrecognized by most American film industry professionals of that era.<a href="#cite_note-3">[3]</a> Frank is believed to have been inspired by the French literary publishing imprint <a href="/wiki/S%C3%A9rie_noire" title="Série noire">Série noire</a>, founded in 1945. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noir<style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><a href="#endnote_Anone">[a]</a> were referred to as "<a href="/wiki/Melodrama" title="Melodrama">melodramas</a>". Whether film noir qualifies as a distinct <a href="/wiki/Film_genre" title="Film genre">genre</a> or whether it should be considered a filmmaking style is a matter of ongoing and heavy debate among film scholars. Film noir encompasses a range of plots; common archetypical protagonists include a private investigator (<a href="/wiki/The_Big_Sleep_(1946_film)" title="The Big Sleep (1946 film)">The Big Sleep</a>), a <a href="/wiki/Plainclothes_law_enforcement" class="mw-redirect" title="Plainclothes law enforcement">plainclothes police officer</a> (<a href="/wiki/The_Big_Heat" title="The Big Heat">The Big Heat</a>), an aging boxer (<a href="/wiki/The_Set-Up_(1949_film)" title="The Set-Up (1949 film)">The Set-Up</a>), a hapless <a href="/wiki/Confidence_trick" class="mw-redirect" title="Confidence trick">grifter</a> (<a href="/wiki/Night_and_the_City" title="Night and the City">Night and the City</a>), a law-abiding citizen lured into a life of crime (<a href="/wiki/Gun_Crazy" title="Gun Crazy">Gun Crazy</a>), a <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a> (<a href="/wiki/Gilda_(film)" title="Gilda (film)">Gilda</a>) or simply a victim of circumstance (<a href="/wiki/D.O.A._(1950_film)" title="D.O.A. (1950 film)">D.O.A.</a>). Although film noir was originally associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with films noir of the classical period, and often treat its conventions <a href="/wiki/Self-reference" title="Self-reference">self-referentially</a>. Latter-day works are typically referred to as <a href="/wiki/Neo-noir" title="Neo-noir">neo-noir</a>. The clichés of film noir have inspired parody since the mid-1940s.<a href="#cite_note-4">[4]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=1" title="Edit section: Definition">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><video id="mwe_player_0" poster="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/220px-seek%3D25-The_Stranger_%28Orson_Welles%2C_1946%29.webm.jpg" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" height="161" data-durationhint="5643" data-mwtitle="The_Stranger_(Orson_Welles,_1946).webm" data-mwprovider="wikimediacommons" resource="/wiki/File:The_Stranger_(Orson_Welles,_1946).webm"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.480p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-transcodekey="480p.vp9.webm" data-width="658" data-height="480" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.720p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-transcodekey="720p.vp9.webm" data-width="986" data-height="720" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.1080p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-transcodekey="1080p.vp9.webm" data-width="1480" data-height="1080" /><source src="//upload.wikimedia.org/wikipedia/commons/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm" type="video/webm; codecs="vp9, opus"" data-width="1480" data-height="1080" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.144p.mjpeg.mov" type="video/quicktime" data-transcodekey="144p.mjpeg.mov" data-width="198" data-height="144" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.240p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-transcodekey="240p.vp9.webm" data-width="328" data-height="240" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.360p.vp9.webm" type="video/webm; codecs="vp9, opus"" data-transcodekey="360p.vp9.webm" data-width="494" data-height="360" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/b/bd/The_Stranger_%28Orson_Welles%2C_1946%29.webm/The_Stranger_%28Orson_Welles%2C_1946%29.webm.360p.webm" type="video/webm; codecs="vp8, vorbis"" data-transcodekey="360p.webm" data-width="494" data-height="360" /></video><figcaption><a href="/wiki/The_Stranger_(1946_film)" title="The Stranger (1946 film)">The Stranger</a> (1946), directed by <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a></figcaption></figure> The question of what defines film noir and what sort of category it is, provokes continuing debate.<a href="#cite_note-5">[5]</a> "We'd be oversimplifying things in calling film noir <a href="/wiki/Oneiric_(film_theory)" title="Oneiric (film theory)">oneiric</a>, strange, erotic, ambivalent, and cruel ..."—this set of attributes constitutes the first of many attempts to define film noir made by French critics <a href="/w/index.php?title=Raymond_Borde&action=edit&redlink=1" class="new" title="Raymond Borde (page does not exist)">Raymond Borde</a> [<a href="https://fr.wikipedia.org/wiki/Raymond_Borde" class="extiw" title="fr:Raymond Borde">fr</a>] and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 (A Panorama of American Film Noir), the original and seminal extended treatment of the subject. <a href="#cite_note-6">[6]</a> They emphasize that not every noir film embodies all five attributes in equal measure—one might be more dreamlike; another, particularly brutal.<a href="#cite_note-7">[7]</a> The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship, but in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon."<a href="#cite_note-8">[8]</a> Though film noir is often identified with a visual style that emphasizes <a href="/wiki/Low-key_lighting" title="Low-key lighting">low-key lighting</a> and <a href="/wiki/Composition_(visual_arts)" title="Composition (visual arts)">unbalanced compositions</a>,<a href="#cite_note-9">[9]</a> films commonly identified as noir evidence a variety of visual approaches, including ones that fit comfortably within the Hollywood mainstream.<a href="#cite_note-10">[10]</a> Film noir similarly embraces a variety of genres, from the <a href="/wiki/Mob_film" class="mw-redirect" title="Mob film">gangster film</a> to the <a href="/wiki/Police_procedural" title="Police procedural">police procedural</a> to the <a href="/wiki/Gothic_fiction" title="Gothic fiction">gothic romance</a> to the <a href="/wiki/Social_problem_film" title="Social problem film">social problem picture</a>—any example of which from the 1940s and 1950s, now seen as noir's classical era, was likely to be described as a melodrama at the time.<a href="#cite_note-11">[11]</a> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatleft" style="width:25%; ;"> <blockquote class="quotebox-quote left-aligned" style=""> It is night, always. The hero enters a labyrinth on a quest. He is alone and off balance. He may be desperate, in flight, or coldly calculating, imagining he is the pursuer rather than the pursued. A woman invariably joins him at a critical juncture, when he is most vulnerable. [Her] eventual betrayal of him (or herself) is as ambiguous as her feelings about him. </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="left-aligned" style=""><a href="/wiki/Nicholas_Christopher_(writer)" title="Nicholas Christopher (writer)">Nicholas Christopher</a>, Somewhere in the Night (1997)<a href="#cite_note-12">[12]</a></cite></div> </div>While many critics refer to film noir as a genre itself, others argue that it can be no such thing.<a href="#cite_note-13">[13]</a> Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization, theme, and visual design." Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in abundance." Hirsch notes that there are unifying features of tone, visual style and narrative sufficient to classify noir as a distinct genre.<a href="#cite_note-14">[14]</a> Others argue that film noir is not a genre. It is often associated with an urban setting, but many classic noirs take place in small towns, suburbia, rural areas, or on the open road; setting is not a determinant, as with the <a href="/wiki/Western_(genre)" title="Western (genre)">Western</a>. Similarly, while the <a href="/wiki/Private_investigator" title="Private investigator">private eye</a> and the <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a> are <a href="/wiki/Stock_character" title="Stock character">stock character</a> types conventionally identified with noir, the majority of films in the genre feature neither. Nor does film noir rely on anything as evident as the monstrous or supernatural elements of the <a href="/wiki/Horror_film" title="Horror film">horror film</a>, the speculative leaps of the <a href="/wiki/Science_fiction_film" title="Science fiction film">science fiction film</a>, or the song-and-dance routines of the <a href="/wiki/Musical_film" title="Musical film">musical</a>.<a href="#cite_note-15">[15]</a> An analogous case is that of the <a href="/wiki/Screwball_comedy_film" class="mw-redirect" title="Screwball comedy film">screwball comedy</a>, widely accepted by film historians as constituting a "genre": screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some—but rarely and perhaps never all—of which are found in each of the genre's films.<a href="#cite_note-16">[16]</a> Because of the diversity of noir (much greater than that of the screwball comedy), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style". <a href="#cite_note-17">[17]</a> <a href="/wiki/Alain_Silver" title="Alain Silver">Alain Silver</a>, the most widely published American critic specializing in film noir studies, refers to film noir as a "cycle"<a href="#cite_note-18">[18]</a> and a "phenomenon",<a href="#cite_note-19">[19]</a> even as he argues that it has—like certain genres—a consistent set of visual and thematic codes.<a href="#cite_note-20">[20]</a> Screenwriter <a href="/wiki/Eric_R._Williams" title="Eric R. Williams">Eric R. Williams</a> labels both film noir and screwball comedy a "pathway" in his screenwriters taxonomy; explaining that a pathway has two parts: 1) the way the audience connects with the protagonist and 2) the trajectory the audience expects the story to follow.<a href="#cite_note-21">[21]</a> Other critics treat film noir as a "mood,"<a href="#cite_note-22">[22]</a> a "series",<a href="#cite_note-23">[23]</a> or simply a chosen set of films they regard as belonging to the noir "canon."<a href="#cite_note-24">[24]</a> There is no consensus on the matter.<a href="#cite_note-25">[25]</a> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=2" title="Edit section: Background">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Cinematic_sources">Cinematic sources</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=3" title="Edit section: Cinematic sources">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Marlene_Dietrich_circa_1930_(cropped).png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Marlene_Dietrich_circa_1930_%28cropped%29.png/250px-Marlene_Dietrich_circa_1930_%28cropped%29.png" decoding="async" width="220" height="285" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Marlene_Dietrich_circa_1930_%28cropped%29.png/330px-Marlene_Dietrich_circa_1930_%28cropped%29.png 1.5x, //upload.wikimedia.org/wikipedia/commons/b/b5/Marlene_Dietrich_circa_1930_%28cropped%29.png 2x" data-file-width="331" data-file-height="429" /></a><figcaption><a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a>, an actress frequently called upon to play a <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a>.</figcaption></figure> The aesthetics of film noir were influenced by <a href="/wiki/German_Expressionism" class="mw-redirect" title="German Expressionism">German Expressionism</a>, an artistic movement of the 1910s and 1920s that involved theater, music, photography, painting, sculpture and architecture, as well as cinema. The opportunities offered by the booming Hollywood film industry and then the threat of <a href="/wiki/Nazism" title="Nazism">Nazism</a> led to the emigration of many film artists working in Germany who had been involved in the Expressionist movement or studied with its practitioners.<a href="#cite_note-26">[26]</a> <a href="/wiki/M_(1931_film)" title="M (1931 film)">M</a> (1931), shot only a few years before director <a href="/wiki/Fritz_Lang" title="Fritz Lang">Fritz Lang</a>'s departure from Germany, is among the first crime films of the <a href="/wiki/Sound_film" title="Sound film">sound era</a> to join a characteristically noirish visual style with a noir-type plot, in which the protagonist is a criminal (as are his most successful pursuers). Directors such as Lang, <a href="/wiki/Jacques_Tourneur" title="Jacques Tourneur">Jacques Tourneur</a>, <a href="/wiki/Robert_Siodmak" title="Robert Siodmak">Robert Siodmak</a> and <a href="/wiki/Michael_Curtiz" title="Michael Curtiz">Michael Curtiz</a> brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition (<a href="/wiki/Mise_en_sc%C3%A8ne" class="mw-redirect" title="Mise en scène">mise-en-scène</a>) with them to Hollywood, where they made some of the most famous classic noirs.<a href="#cite_note-27">[27]</a> By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as <a href="/wiki/20,000_Years_in_Sing_Sing" title="20,000 Years in Sing Sing">20,000 Years in Sing Sing</a> (1932) and <a href="/wiki/Private_Detective_62" title="Private Detective 62">Private Detective 62</a> (1933) are among the early Hollywood sound films arguably classifiable as noir—scholar Marc Vernet offers the latter as evidence that dating the initiation of film noir to 1940 or any other year is "arbitrary".<a href="#cite_note-28">[28]</a> Expressionism-orientated filmmakers had free stylistic rein in <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal</a> horror pictures such as <a href="/wiki/Dracula_(1931_English-language_film)" title="Dracula (1931 English-language film)">Dracula</a> (1931), <a href="/wiki/The_Mummy_(1932_film)" title="The Mummy (1932 film)">The Mummy</a> (1932)—the former <a href="/wiki/Cinematography" title="Cinematography">photographed</a> and the latter directed by the Berlin-trained <a href="/wiki/Karl_Freund" title="Karl Freund">Karl Freund</a>—and <a href="/wiki/The_Black_Cat_(1934_film)" title="The Black Cat (1934 film)">The Black Cat</a> (1934), directed by Austrian émigré <a href="/wiki/Edgar_G._Ulmer" title="Edgar G. Ulmer">Edgar G. Ulmer</a>.<a href="#cite_note-29">[29]</a> The Universal horror film that comes closest to noir, in story and sensibility, is <a href="/wiki/The_Invisible_Man_(1933_film)" title="The Invisible Man (1933 film)">The Invisible Man</a> (1933), directed by Englishman <a href="/wiki/James_Whale" title="James Whale">James Whale</a> and photographed by American <a href="/wiki/Arthur_Edeson" title="Arthur Edeson">Arthur Edeson</a>. Edeson later photographed <a href="/wiki/The_Maltese_Falcon_(1941_film)" title="The Maltese Falcon (1941 film)">The Maltese Falcon</a> (1941), widely regarded as the first major film noir of the classic era.<a href="#cite_note-30">[30]</a> <a href="/wiki/Josef_von_Sternberg" title="Josef von Sternberg">Josef von Sternberg</a> was directing in Hollywood during the same period. Films of his such as <a href="/wiki/Shanghai_Express_(film)" title="Shanghai Express (film)">Shanghai Express</a> (1932) and <a href="/wiki/The_Devil_Is_a_Woman_(1935_film)" title="The Devil Is a Woman (1935 film)">The Devil Is a Woman</a> (1935), with their hothouse eroticism and baroque visual style anticipated central elements of classic noir. The commercial and critical success of Sternberg's silent <a href="/wiki/Underworld_(1927_film)" title="Underworld (1927 film)">Underworld</a> (1927) was largely responsible for spurring a trend of Hollywood gangster films.<a href="#cite_note-31">[31]</a> Successful films in that genre such as <a href="/wiki/Little_Caesar_(film)" title="Little Caesar (film)">Little Caesar</a> (1931), <a href="/wiki/The_Public_Enemy" title="The Public Enemy">The Public Enemy</a> (1931) and <a href="/wiki/Scarface_(1932_film)" title="Scarface (1932 film)">Scarface</a> (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.<a href="#cite_note-32">[32]</a> An important, possibly influential, cinematic antecedent to classic noir was 1930s French <a href="/wiki/Poetic_realism" title="Poetic realism">poetic realism</a>, with its romantic, <a href="/wiki/Fatalism" title="Fatalism">fatalistic</a> attitude and celebration of doomed heroes.<a href="#cite_note-33">[33]</a> The movement's sensibility is mirrored in the <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> drama <a href="/wiki/I_Am_a_Fugitive_from_a_Chain_Gang" title="I Am a Fugitive from a Chain Gang">I Am a Fugitive from a Chain Gang</a> (1932), a forerunner of noir.<a href="#cite_note-34">[34]</a> Among films not considered noir, perhaps none had a greater effect on the development of the genre than <a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a> (1941), directed by <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a>. Its visual intricacy and complex, <a href="/wiki/Voiceover" class="mw-redirect" title="Voiceover">voiceover</a> narrative structure are echoed in dozens of classic films noir.<a href="#cite_note-35">[35]</a> <a href="/wiki/Italian_neorealism" title="Italian neorealism">Italian neorealism</a> of the 1940s, with its emphasis on <a href="/wiki/Semidocumentary" title="Semidocumentary">quasi-documentary</a> authenticity, was an acknowledged influence on trends that emerged in American noir. <a href="/wiki/The_Lost_Weekend_(film)" class="mw-redirect" title="The Lost Weekend (film)">The Lost Weekend</a> (1945), directed by <a href="/wiki/Billy_Wilder" title="Billy Wilder">Billy Wilder</a>, another Vienna-born, Berlin-trained American <a href="/wiki/Auteur" title="Auteur">auteur</a>, tells the story of an alcoholic in a manner evocative of neorealism.<a href="#cite_note-36">[36]</a> It also exemplifies the problem of classification: one of the first American films to be described as a film noir, it has largely disappeared from considerations of the field.<a href="#cite_note-37">[37]</a> Director <a href="/wiki/Jules_Dassin" title="Jules Dassin">Jules Dassin</a> of <a href="/wiki/The_Naked_City" title="The Naked City">The Naked City</a> (1948) pointed to the neorealists as inspiring his use of location photography with non-professional extras. This semidocumentary approach characterized a substantial number of noirs in the late 1940s and early 1950s. Along with neorealism, the style had an American precedent cited by Dassin, in director <a href="/wiki/Henry_Hathaway" title="Henry Hathaway">Henry Hathaway</a>'s <a href="/wiki/The_House_on_92nd_Street" title="The House on 92nd Street">The House on 92nd Street</a> (1945), which demonstrated the parallel influence of the cinematic newsreel.<a href="#cite_note-38">[38]</a> <div class="mw-heading mw-heading3"><h3 id="Literary_sources">Literary sources</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=4" title="Edit section: Literary sources">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:BlackMask1934Oct.jpg" class="mw-file-description"><img alt="Magazine cover with illustration of a terrified-looking, red-haired young woman gagged and bound to a post. She is wearing a low-cut, arm-bearing yellow top and a red skirt. In front of her, a man with a large scar on his cheek and a furious expression heats a branding iron over a gas stove. In the background, a man wearing a trenchcoat and fedora and holding a revolver enters through a doorway. The text includes the tagline "Smashing Detective Stories" and the cover story's title, "Finger Man"." src="//upload.wikimedia.org/wikipedia/en/thumb/3/3b/BlackMask1934Oct.jpg/220px-BlackMask1934Oct.jpg" decoding="async" width="220" height="322" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/3/3b/BlackMask1934Oct.jpg 1.5x" data-file-width="261" data-file-height="382" /></a><figcaption>The October 1934 issue of <a href="/wiki/Black_Mask_(magazine)" title="Black Mask (magazine)">Black Mask</a> featured the first appearance of the detective character whom <a href="/wiki/Raymond_Chandler" title="Raymond Chandler">Raymond Chandler</a> developed into the famous <a href="/wiki/Philip_Marlowe" title="Philip Marlowe">Philip Marlowe</a>.<a href="#cite_note-39">[39]</a></figcaption></figure> The primary literary influence on film noir was the <a href="/wiki/History_of_crime_fiction#Hardboiled_American_crime_fiction_writing" title="History of crime fiction">hardboiled</a> school of American <a href="/wiki/Detective_fiction" title="Detective fiction">detective</a> and <a href="/wiki/Crime_fiction" title="Crime fiction">crime fiction</a>, led in its early years by such writers as <a href="/wiki/Dashiell_Hammett" title="Dashiell Hammett">Dashiell Hammett</a> (whose first novel, <a href="/wiki/Red_Harvest" title="Red Harvest">Red Harvest</a>, was published in 1929) and <a href="/wiki/James_M._Cain" title="James M. Cain">James M. Cain</a> (whose <a href="/wiki/The_Postman_Always_Rings_Twice_(novel)" title="The Postman Always Rings Twice (novel)">The Postman Always Rings Twice</a> appeared five years later), and popularized in <a href="/wiki/Pulp_magazine" title="Pulp magazine">pulp magazines</a> such as <a href="/wiki/Black_Mask_(magazine)" title="Black Mask (magazine)">Black Mask</a>. The classic film noirs <a href="/wiki/The_Maltese_Falcon_(1941_film)" title="The Maltese Falcon (1941 film)">The Maltese Falcon</a> (1941) and <a href="/wiki/The_Glass_Key_(1942_film)" title="The Glass Key (1942 film)">The Glass Key</a> (1942) were based on novels by Hammett; Cain's novels provided the basis for <a href="/wiki/Double_Indemnity" title="Double Indemnity">Double Indemnity</a> (1944), <a href="/wiki/Mildred_Pierce_(film)" title="Mildred Pierce (film)">Mildred Pierce</a> (1945), <a href="/wiki/The_Postman_Always_Rings_Twice_(1946_film)" title="The Postman Always Rings Twice (1946 film)">The Postman Always Rings Twice</a> (1946), and <a href="/wiki/Slightly_Scarlet_(1956_film)" title="Slightly Scarlet (1956 film)">Slightly Scarlet</a> (1956; adapted from Love's Lovely Counterfeit). A decade before the classic era, a story by Hammett was the source for the gangster melodrama <a href="/wiki/City_Streets_(1931_film)" title="City Streets (1931 film)">City Streets</a> (1931), directed by <a href="/wiki/Rouben_Mamoulian" title="Rouben Mamoulian">Rouben Mamoulian</a> and photographed by <a href="/wiki/Lee_Garmes" title="Lee Garmes">Lee Garmes</a>, who worked regularly with Sternberg. Released the month before Lang's M, City Streets has a claim to being the first major film noir; both its style and story had many noir characteristics.<a href="#cite_note-40">[40]</a> <a href="/wiki/Raymond_Chandler" title="Raymond Chandler">Raymond Chandler</a>, who debuted as a novelist with <a href="/wiki/The_Big_Sleep" title="The Big Sleep">The Big Sleep</a> in 1939, soon became the most famous author of the hardboiled school. Not only were Chandler's novels turned into major noirs—<a href="/wiki/Murder,_My_Sweet" title="Murder, My Sweet">Murder, My Sweet</a> (1944; adapted from <a href="/wiki/Farewell,_My_Lovely" title="Farewell, My Lovely">Farewell, My Lovely</a>), <a href="/wiki/The_Big_Sleep_(1946_film)" title="The Big Sleep (1946 film)">The Big Sleep</a> (1946), and <a href="/wiki/Lady_in_the_Lake" title="Lady in the Lake">Lady in the Lake</a> (1947)—he was an important <a href="/wiki/Screenwriter" title="Screenwriter">screenwriter</a> in the genre as well, producing the scripts for Double Indemnity, <a href="/wiki/The_Blue_Dahlia" title="The Blue Dahlia">The Blue Dahlia</a> (1946), and <a href="/wiki/Strangers_on_a_Train_(film)" title="Strangers on a Train (film)">Strangers on a Train</a> (1951). Where Chandler, like Hammett, centered most of his novels and stories on the character of the private eye, Cain featured less heroic protagonists and focused more on psychological exposition than on crime solving;<a href="#cite_note-41">[41]</a> the Cain approach has come to be identified with a subset of the hardboiled genre dubbed "<a href="/wiki/Noir_fiction" title="Noir fiction">noir fiction</a>". For much of the 1940s, one of the most prolific and successful authors of this often downbeat brand of suspense tale was <a href="/wiki/Cornell_Woolrich" title="Cornell Woolrich">Cornell Woolrich</a> (sometimes under the pseudonym George Hopley or William Irish). No writer's published work provided the basis for more noir films of the classic period than Woolrich's: thirteen in all, including <a href="/wiki/Black_Angel_(1946_film)" title="Black Angel (1946 film)">Black Angel</a> (1946), <a href="/wiki/Deadline_at_Dawn" title="Deadline at Dawn">Deadline at Dawn</a> (1946), and <a href="/wiki/Fear_in_the_Night_(1947_film)" title="Fear in the Night (1947 film)">Fear in the Night</a> (1947).<a href="#cite_note-42">[42]</a> Another crucial literary source for film noir was <a href="/wiki/William_R._Burnett" class="mw-redirect" title="William R. Burnett">W. R. Burnett</a>, whose first novel to be published was Little Caesar, in 1929. It was turned into a hit for <a href="/wiki/Warner_Bros." title="Warner Bros.">Warner Bros.</a> in 1931; the following year, Burnett was hired to write dialogue for Scarface, while <a href="/wiki/The_Beast_of_the_City" title="The Beast of the City">The Beast of the City</a> (1932) was adapted from one of his stories. At least one important reference work identifies the latter as a film noir despite its early date.<a href="#cite_note-43">[43]</a> Burnett's characteristic narrative approach fell somewhere between that of the quintessential hardboiled writers and their noir fiction compatriots—his protagonists were often heroic in their own way, which happened to be that of the gangster. During the classic era, his work, either as author or screenwriter, was the basis for seven films now widely regarded as noir, including three of the most famous: <a href="/wiki/High_Sierra_(film)" title="High Sierra (film)">High Sierra</a> (1941), <a href="/wiki/This_Gun_for_Hire" title="This Gun for Hire">This Gun for Hire</a> (1942), and <a href="/wiki/The_Asphalt_Jungle" title="The Asphalt Jungle">The Asphalt Jungle</a> (1950).<a href="#cite_note-44">[44]</a> <div class="mw-heading mw-heading2"><h2 id="Classic_period">Classic period</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=5" title="Edit section: Classic period">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Overview">Overview</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=6" title="Edit section: Overview">edit</a>]</div> The 1940s and 1950s are generally regarded as the classic period of American film noir. While City Streets and other pre-WWII crime melodramas such as <a href="/wiki/Fury_(1936_film)" title="Fury (1936 film)">Fury</a> (1936) and <a href="/wiki/You_Only_Live_Once_(1937_film)" title="You Only Live Once (1937 film)">You Only Live Once</a> (1937), both directed by Fritz Lang, are categorized as full-fledged noir in Alain Silver and Elizabeth Ward's film noir encyclopedia, other critics tend to describe them as "proto-noir" or in similar terms.<a href="#cite_note-45">[45]</a> The film now most commonly cited as the first "true" film noir is <a href="/wiki/Stranger_on_the_Third_Floor" title="Stranger on the Third Floor">Stranger on the Third Floor</a> (1940), directed by Latvian-born, Soviet-trained <a href="/wiki/Boris_Ingster" title="Boris Ingster">Boris Ingster</a>.<a href="#cite_note-3d-46">[46]</a> Hungarian émigré <a href="/wiki/Peter_Lorre" title="Peter Lorre">Peter Lorre</a>—who had starred in Lang's <a href="/wiki/M_(1931_film)" title="M (1931 film)">M</a>—was top-billed, although he did not play the primary lead. (He later played <a href="/wiki/Character_actor" title="Character actor">secondary roles</a> in several other formative American noirs.) Although modestly budgeted, at the high end of the <a href="/wiki/B_movie" title="B movie">B movie</a> scale, Stranger on the Third Floor still lost its studio, <a href="/wiki/RKO" class="mw-redirect" title="RKO">RKO</a>, US$56,000 (equivalent to $1,256,874 in 2024), almost a third of its total cost.<a href="#cite_note-47">[47]</a> <a href="/wiki/Variety_(magazine)" title="Variety (magazine)">Variety</a> magazine found Ingster's work: "...too studied and when original, lacks the flare [<a href="/wiki/Sic" title="Sic">sic</a>] to hold attention. It's a film too arty for average audiences, and too humdrum for others."<a href="#cite_note-48">[48]</a> Stranger on the Third Floor was not recognized as the beginning of a trend, let alone a new genre, for many decades.<a href="#cite_note-3d-46">[46]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1224211176" /><div class="quotebox pullquote floatright" style="width:35%; ;"> <blockquote class="quotebox-quote left-aligned" style=""> Whoever went to the movies with any regularity during 1946 was caught in the midst of Hollywood's profound postwar affection for morbid drama. From January through December deep shadows, clutching hands, exploding revolvers, sadistic villains and heroines tormented with deeply rooted diseases of the mind flashed across the screen in a panting display of psychoneurosis, unsublimated sex and murder most foul. </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="right-aligned" style="">Donald Marshman, Life (August 25, 1947)<a href="#cite_note-49">[49]</a></cite></div> </div> Most film noirs of the classic period were similarly low- and modestly-budgeted features without major stars—<a href="/wiki/B_movies" class="mw-redirect" title="B movies">B movies</a> either literally or in spirit. In this production context, writers, directors, cinematographers, and other craftsmen were relatively free from typical big-picture constraints. There was more visual experimentation than in Hollywood filmmaking as a whole: the Expressionism now closely associated with noir and the semi-documentary style that later emerged represent two very different tendencies. Narrative structures sometimes involved convoluted flashbacks uncommon in non-noir commercial productions. In terms of content, enforcement of the <a href="/wiki/Production_Code" class="mw-redirect" title="Production Code">Production Code</a> ensured that no film character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were very risqué for the time.<a href="#cite_note-50">[50]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:OutOfThePastMitchumGreer.jpg" class="mw-file-description"><img alt="Black-and-white image of a man and a woman sitting side by side on a couch, viewed at an angle. The man, in profile in the left foreground, stares off to the right of frame. He wears a trenchcoat, and his face is shadowed by a fedora. He holds a cigarette in his left hand. The woman, to the right and rear, stares at him. She wears a dark dress and lipstick of a deeply saturated hue." src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/OutOfThePastMitchumGreer.jpg/220px-OutOfThePastMitchumGreer.jpg" decoding="async" width="220" height="155" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b1/OutOfThePastMitchumGreer.jpg/330px-OutOfThePastMitchumGreer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b1/OutOfThePastMitchumGreer.jpg/440px-OutOfThePastMitchumGreer.jpg 2x" data-file-width="1500" data-file-height="1057" /></a><figcaption><a href="/wiki/Out_of_the_Past" title="Out of the Past">Out of the Past</a> (1947) directed by <a href="/wiki/Jacques_Tourneur" title="Jacques Tourneur">Jacques Tourneur</a>, features many of the genre's hallmarks: a cynical private detective as the protagonist, a <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a>, multiple <a href="/wiki/Flashback_(literary_technique)" class="mw-redirect" title="Flashback (literary technique)">flashbacks</a> with <a href="/wiki/Voiceover" class="mw-redirect" title="Voiceover">voiceover</a> narration, <a href="/wiki/Chiaroscuro" title="Chiaroscuro">dramatically shadowed</a> photography, and a <a href="/wiki/Fatalism" title="Fatalism">fatalistic</a> mood leavened with provocative banter. Pictured are noir icons <a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a> and <a href="/wiki/Jane_Greer" title="Jane Greer">Jane Greer</a>.</figcaption></figure> Thematically, films noir were most exceptional for the relative frequency with which they centered on <a href="/wiki/Portrayal_of_women_in_film_noir" title="Portrayal of women in film noir">portrayals of women</a> of questionable virtue—a focus that had become rare in Hollywood films after the mid-1930s and the end of the <a href="/wiki/Pre-Code_Hollywood" title="Pre-Code Hollywood">pre-Code</a> era. The signal film in this vein was <a href="/wiki/Double_Indemnity" title="Double Indemnity">Double Indemnity</a>, directed by Billy Wilder; setting the mold was <a href="/wiki/Barbara_Stanwyck" title="Barbara Stanwyck">Barbara Stanwyck</a>'s <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a>, Phyllis Dietrichson—an apparent nod to <a href="/wiki/Marlene_Dietrich" title="Marlene Dietrich">Marlene Dietrich</a>, who had built her extraordinary career playing such characters for Sternberg. An A-level feature, the film's commercial success and seven <a href="/wiki/Academy_Awards" title="Academy Awards">Oscar</a> nominations made it probably the most influential of the early noirs.<a href="#cite_note-51">[51]</a> A slew of now-renowned noir "bad girls" followed, such as those played by <a href="/wiki/Rita_Hayworth" title="Rita Hayworth">Rita Hayworth</a> in <a href="/wiki/Gilda_(film)" title="Gilda (film)">Gilda</a> (1946), <a href="/wiki/Lana_Turner" title="Lana Turner">Lana Turner</a> in <a href="/wiki/The_Postman_Always_Rings_Twice_(1946_film)" title="The Postman Always Rings Twice (1946 film)">The Postman Always Rings Twice</a> (1946), <a href="/wiki/Ava_Gardner" title="Ava Gardner">Ava Gardner</a> in <a href="/wiki/The_Killers_(1946_film)" title="The Killers (1946 film)">The Killers</a> (1946), and <a href="/wiki/Jane_Greer" title="Jane Greer">Jane Greer</a> in <a href="/wiki/Out_of_the_Past" title="Out of the Past">Out of the Past</a> (1947). The iconic noir counterpart to the femme fatale, the private eye, came to the fore in films such as <a href="/wiki/The_Maltese_Falcon_(1941_film)" title="The Maltese Falcon (1941 film)">The Maltese Falcon</a> (1941), with <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a> as <a href="/wiki/Sam_Spade" title="Sam Spade">Sam Spade</a>, and <a href="/wiki/Murder,_My_Sweet" title="Murder, My Sweet">Murder, My Sweet</a> (1944), with <a href="/wiki/Dick_Powell" title="Dick Powell">Dick Powell</a> as <a href="/wiki/Philip_Marlowe" title="Philip Marlowe">Philip Marlowe</a>. The prevalence of the private eye as a lead character declined in film noir of the 1950s, a period during which several critics describe the form as becoming more focused on extreme psychologies and more exaggerated in general.<a href="#cite_note-52">[52]</a> A prime example is <a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a> (1955); based on a novel by <a href="/wiki/Mickey_Spillane" title="Mickey Spillane">Mickey Spillane</a>, the best-selling of all the hardboiled authors, here the protagonist is a private eye, <a href="/wiki/Mike_Hammer_(character)" title="Mike Hammer (character)">Mike Hammer</a>. As described by <a href="/wiki/Paul_Schrader" title="Paul Schrader">Paul Schrader</a>, "<a href="/wiki/Robert_Aldrich" title="Robert Aldrich">Robert Aldrich</a>'s teasing direction carries noir to its sleaziest and most perversely erotic. Hammer overturns the underworld in search of the 'great whatsit' [which] turns out to be—joke of jokes—an exploding atomic bomb."<a href="#cite_note-53">[53]</a> Orson Welles's baroquely styled <a href="/wiki/Touch_of_Evil" title="Touch of Evil">Touch of Evil</a> (1958) is frequently cited as the last noir of the classic period.<a href="#cite_note-54">[54]</a> Some scholars believe film noir never really ended, but continued to transform even as the characteristic noir visual style began to seem dated and changing production conditions led Hollywood in different directions—in this view, post-1950s films in the noir tradition are seen as part of a continuity with classic noir.<a href="#cite_note-55">[55]</a> A majority of critics, however, regard comparable films made outside the classic era to be something other than genuine film noir. They regard true film noir as belonging to a temporally and geographically limited cycle or period, treating subsequent films that evoke the classics as fundamentally different due to general shifts in filmmaking style and latter-day awareness of noir as a historical source for <a href="/wiki/Allusion" title="Allusion">allusion</a>.<a href="#cite_note-56">[56]</a> These later films are often called <a href="/wiki/Neo-noir" title="Neo-noir">neo-noir</a>. <div class="mw-heading mw-heading3"><h3 id="Directors_and_the_business_of_noir">Directors and the business of noir</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=7" title="Edit section: Directors and the business of noir">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:LonelyPlaceTrailer.jpg" class="mw-file-description"><img alt="Black-and-white image of a man and woman, both with downcast expressions, sitting side by side in the front seat of a convertible. The man, on the right, grips the steering wheel. He wears a jacket and a pullover shirt. The woman wears a checkered outfit. Behind them, in the night, the road is empty, with a two widely separated lights way off in the distance." src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/LonelyPlaceTrailer.jpg/220px-LonelyPlaceTrailer.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/LonelyPlaceTrailer.jpg/330px-LonelyPlaceTrailer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/a/a4/LonelyPlaceTrailer.jpg 2x" data-file-width="360" data-file-height="240" /></a><figcaption>A scene from <a href="/wiki/In_a_Lonely_Place" title="In a Lonely Place">In a Lonely Place</a> (1950), directed by <a href="/wiki/Nicholas_Ray" title="Nicholas Ray">Nicholas Ray</a> and based on a novel by <a href="/wiki/Hardboiled#Noir_fiction" title="Hardboiled">noir fiction</a> writer <a href="/wiki/Dorothy_B._Hughes" title="Dorothy B. Hughes">Dorothy B. Hughes</a>. Two of noir's defining actors, <a href="/wiki/Gloria_Grahame" title="Gloria Grahame">Gloria Grahame</a> and <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a>, portray star-crossed lovers in the film.</figcaption></figure> While the inceptive noir, Stranger on the Third Floor, was a B picture directed by a virtual unknown, many of the films noir still remembered were A-list productions by well-known film makers. Debuting as a director with <a href="/wiki/The_Maltese_Falcon_(1941_film)" title="The Maltese Falcon (1941 film)">The Maltese Falcon</a> (1941), <a href="/wiki/John_Huston" title="John Huston">John Huston</a> followed with <a href="/wiki/Key_Largo_(film)" title="Key Largo (film)">Key Largo</a> (1948) and <a href="/wiki/The_Asphalt_Jungle" title="The Asphalt Jungle">The Asphalt Jungle</a> (1950). Opinion is divided on the noir status of several <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a> thrillers from the era; at least four qualify by consensus: <a href="/wiki/Shadow_of_a_Doubt" title="Shadow of a Doubt">Shadow of a Doubt</a> (1943), <a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a> (1946), <a href="/wiki/Strangers_on_a_Train_(film)" title="Strangers on a Train (film)">Strangers on a Train</a> (1951) and <a href="/wiki/The_Wrong_Man" title="The Wrong Man">The Wrong Man</a> (1956),<a href="#cite_note-57">[57]</a> <a href="/wiki/Otto_Preminger" title="Otto Preminger">Otto Preminger</a>'s success with <a href="/wiki/Laura_(1944_film)" title="Laura (1944 film)">Laura</a> (1944) made his name and helped demonstrate noir's adaptability to a high-gloss <a href="/wiki/20th_Century-Fox" class="mw-redirect" title="20th Century-Fox">20th Century-Fox</a> presentation.<a href="#cite_note-58">[58]</a> Among Hollywood's most celebrated directors of the era, arguably none worked more often in a noir mode than Preminger; his other noirs include <a href="/wiki/Fallen_Angel_(1945_film)" title="Fallen Angel (1945 film)">Fallen Angel</a> (1945), <a href="/wiki/Whirlpool_(1949_film)" class="mw-redirect" title="Whirlpool (1949 film)">Whirlpool</a> (1949), <a href="/wiki/Where_the_Sidewalk_Ends_(film)" title="Where the Sidewalk Ends (film)">Where the Sidewalk Ends</a> (1950) (all for Fox) and <a href="/wiki/Angel_Face_(1952_film)" class="mw-redirect" title="Angel Face (1952 film)">Angel Face</a> (1952). A half-decade after Double Indemnity and The Lost Weekend, Billy Wilder made <a href="/wiki/Sunset_Boulevard_(film)" title="Sunset Boulevard (film)">Sunset Boulevard</a> (1950) and <a href="/wiki/Ace_in_the_Hole_(1951_film)" title="Ace in the Hole (1951 film)">Ace in the Hole</a> (1951), noirs that were not so much crime dramas as satires on Hollywood and the news media respectively. <a href="/wiki/In_a_Lonely_Place" title="In a Lonely Place">In a Lonely Place</a> (1950) was <a href="/wiki/Nicholas_Ray" title="Nicholas Ray">Nicholas Ray</a>'s breakthrough; his other noirs include his debut, <a href="/wiki/They_Live_by_Night" title="They Live by Night">They Live by Night</a> (1948) and <a href="/wiki/On_Dangerous_Ground" title="On Dangerous Ground">On Dangerous Ground</a> (1952), noted for their unusually sympathetic treatment of characters alienated from the social mainstream.<a href="#cite_note-59">[59]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Lady_from_Shanghai_trailer_rita_hayworth6.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Lady_from_Shanghai_trailer_rita_hayworth6.JPG/250px-Lady_from_Shanghai_trailer_rita_hayworth6.JPG" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Lady_from_Shanghai_trailer_rita_hayworth6.JPG/330px-Lady_from_Shanghai_trailer_rita_hayworth6.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Lady_from_Shanghai_trailer_rita_hayworth6.JPG/500px-Lady_from_Shanghai_trailer_rita_hayworth6.JPG 2x" data-file-width="1440" data-file-height="1080" /></a><figcaption><a href="/wiki/Rita_Hayworth" title="Rita Hayworth">Rita Hayworth</a> in the trailer for <a href="/wiki/The_Lady_from_Shanghai" title="The Lady from Shanghai">The Lady from Shanghai</a> (1947)</figcaption></figure> Orson Welles had notorious problems with financing but his three film noirs were well-budgeted: <a href="/wiki/The_Lady_from_Shanghai" title="The Lady from Shanghai">The Lady from Shanghai</a> (1947) received top-level, "prestige" backing, while <a href="/wiki/The_Stranger_(1946_film)" title="The Stranger (1946 film)">The Stranger</a> (1946), his most conventional film, and <a href="/wiki/Touch_of_Evil" title="Touch of Evil">Touch of Evil</a> (1958), an unmistakably personal work, were funded at levels lower but still commensurate with headlining releases.<a href="#cite_note-60">[60]</a> Like The Stranger, Fritz Lang's <a href="/wiki/The_Woman_in_the_Window_(1944_film)" title="The Woman in the Window (1944 film)">The Woman in the Window</a> (1944) was a production of the independent International Pictures. Lang's follow-up, <a href="/wiki/Scarlet_Street" title="Scarlet Street">Scarlet Street</a> (1945), was one of the few classic noirs to be officially censored: filled with erotic innuendo, it was temporarily banned in Milwaukee, Atlanta and New York State.<a href="#cite_note-61">[61]</a> Scarlet Street was a semi-independent, cosponsored by <a href="/wiki/Universal_Pictures" title="Universal Pictures">Universal</a> and Lang's Diana Productions, of which the film's co-star, <a href="/wiki/Joan_Bennett" title="Joan Bennett">Joan Bennett</a>, was the second biggest shareholder. Lang, Bennett and her husband, the Universal veteran and Diana production head <a href="/wiki/Walter_Wanger" title="Walter Wanger">Walter Wanger</a>, made <a href="/wiki/Secret_Beyond_the_Door" title="Secret Beyond the Door">Secret Beyond the Door</a> (1948) in similar fashion.<a href="#cite_note-62">[62]</a> Before leaving the United States while subject to the <a href="/wiki/Hollywood_blacklist" title="Hollywood blacklist">Hollywood blacklist</a>, Jules Dassin made two classic noirs that also straddled the major/independent line: <a href="/wiki/Brute_Force_(1947_film)" title="Brute Force (1947 film)">Brute Force</a> (1947) and the influential documentary-style <a href="/wiki/The_Naked_City" title="The Naked City">The Naked City</a> (1948) were developed by producer <a href="/wiki/Mark_Hellinger" title="Mark Hellinger">Mark Hellinger</a>, who had an "inside/outside" contract with Universal similar to Wanger's.<a href="#cite_note-63">[63]</a> Years earlier, working at Warner Bros., Hellinger had produced three films for <a href="/wiki/Raoul_Walsh" title="Raoul Walsh">Raoul Walsh</a>, the proto-noirs <a href="/wiki/They_Drive_by_Night" title="They Drive by Night">They Drive by Night</a> (1940), <a href="/wiki/Manpower_(1941_film)" title="Manpower (1941 film)">Manpower</a> (1941) and <a href="/wiki/High_Sierra_(film)" title="High Sierra (film)">High Sierra</a> (1941), now regarded as a seminal work in noir's development.<a href="#cite_note-64">[64]</a> Walsh had no great name during his half-century as a director but his noirs <a href="/wiki/The_Man_I_Love_(1947_film)" title="The Man I Love (1947 film)">The Man I Love</a> (1947), <a href="/wiki/White_Heat" title="White Heat">White Heat</a> (1949) and <a href="/wiki/The_Enforcer_(1951_film)" title="The Enforcer (1951 film)">The Enforcer</a> (1951) had A-list stars and are seen as important examples of the cycle.<a href="#cite_note-65">[65]</a> Other directors associated with top-of-the-bill Hollywood films noir include <a href="/wiki/Edward_Dmytryk" title="Edward Dmytryk">Edward Dmytryk</a> (<a href="/wiki/Murder,_My_Sweet" title="Murder, My Sweet">Murder, My Sweet</a> (1944), <a href="/wiki/Crossfire_(film)" title="Crossfire (film)">Crossfire</a> (1947))—the first important noir director to fall prey to the industry blacklist—as well as <a href="/wiki/Henry_Hathaway" title="Henry Hathaway">Henry Hathaway</a> (<a href="/wiki/The_Dark_Corner" title="The Dark Corner">The Dark Corner</a> (1946), <a href="/wiki/Kiss_of_Death_(1947_film)" title="Kiss of Death (1947 film)">Kiss of Death</a> (1947)) and <a href="/wiki/John_Farrow" title="John Farrow">John Farrow</a> (<a href="/wiki/The_Big_Clock_(1948_film)" class="mw-redirect" title="The Big Clock (1948 film)">The Big Clock</a> (1948), <a href="/wiki/Night_Has_a_Thousand_Eyes" title="Night Has a Thousand Eyes">Night Has a Thousand Eyes</a> (1948)). Most of the Hollywood films considered to be classic noirs fall into the category of the B movie.<a href="#cite_note-66">[66]</a> Some were Bs in the most precise sense, produced to run on the bottom of <a href="/wiki/Double_feature" title="Double feature">double bills</a> by a low-budget unit of one of the <a href="/wiki/Studio_system" title="Studio system">major studios</a> or by one of the smaller <a href="/wiki/Poverty_Row" title="Poverty Row">Poverty Row</a> outfits, from the relatively well-off <a href="/wiki/Monogram_Pictures" title="Monogram Pictures">Monogram</a> to shakier ventures such as <a href="/wiki/Producers_Releasing_Corporation" title="Producers Releasing Corporation">Producers Releasing Corporation (PRC)</a>. <a href="/wiki/Jacques_Tourneur" title="Jacques Tourneur">Jacques Tourneur</a> had made over thirty Hollywood Bs (a few now highly regarded, most forgotten) before directing the A-level Out of the Past, described by scholar Robert Ottoson as "the ne plus ultra of forties film noir".<a href="#cite_note-67">[67]</a> Movies with budgets a step up the ladder, known as "intermediates" by the industry, might be treated as A or B pictures depending on the circumstances. Monogram created <a href="/wiki/Allied_Artists_Pictures_Corporation" class="mw-redirect" title="Allied Artists Pictures Corporation">Allied Artists</a> in the late 1940s to focus on this sort of production. <a href="/wiki/Robert_Wise" title="Robert Wise">Robert Wise</a> (<a href="/wiki/Born_to_Kill_(1947_film)" title="Born to Kill (1947 film)">Born to Kill</a> [1947], <a href="/wiki/The_Set-Up_(1949_film)" title="The Set-Up (1949 film)">The Set-Up</a> [1949]) and <a href="/wiki/Anthony_Mann" title="Anthony Mann">Anthony Mann</a> (<a href="/wiki/T-Men" title="T-Men">T-Men</a> [1947] and <a href="/wiki/Raw_Deal_(1948_film)" title="Raw Deal (1948 film)">Raw Deal</a> [1948]) each made a series of impressive intermediates, many of them noirs, before graduating to steady work on big-budget productions. Mann did some of his most celebrated work with cinematographer <a href="/wiki/John_Alton" title="John Alton">John Alton</a>, a specialist in what James Naremore called "hypnotic moments of light-in-darkness".<a href="#cite_note-68">[68]</a> <a href="/wiki/He_Walked_by_Night" title="He Walked by Night">He Walked by Night</a> (1948), shot by Alton though credited solely to Alfred Werker, directed in large part by Mann, demonstrates their technical mastery and exemplifies the late 1940s trend of "<a href="/wiki/Police_procedural" title="Police procedural">police procedural</a>" crime dramas. It was released, like other Mann-Alton noirs, by the small <a href="/wiki/Eagle-Lion_Films" title="Eagle-Lion Films">Eagle-Lion</a> company; it was the inspiration for the <a href="/wiki/Dragnet_(series)" class="mw-redirect" title="Dragnet (series)">Dragnet</a> series, which debuted on radio in 1949 and television in 1951.<a href="#cite_note-69">[69]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:DetourPoster1.jpg" class="mw-file-description"><img alt="Movie poster with a border of diagonal black and white bands. On the upper right is a tagline: "He went searching for love ... but fate forced a DETOUR to Revelry ... Violence ... Mystery!" The image is a collage of stills: a man playing the clarinet; a smiling man and woman in evening dress; the same man, with a horrified expression, holding the body of another man with a bloody head injury; the body of a woman, asleep or dead, splayed out over the end of a bed, a telephone beside her; leaning against either side of a lamppost, the same man a third time, wearing a green suit and tie and holding a cigarette, and a woman wearing a knee-length red dress and black pumps, smoking. Credits at the bottom feature the names of three actors: Tom Neal, Ann Savage, and Claudia Drake." src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fc/DetourPoster1.jpg/220px-DetourPoster1.jpg" decoding="async" width="220" height="172" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fc/DetourPoster1.jpg/330px-DetourPoster1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fc/DetourPoster1.jpg/440px-DetourPoster1.jpg 2x" data-file-width="1215" data-file-height="950" /></a><figcaption><a href="/wiki/Detour_(1945_film)" title="Detour (1945 film)">Detour</a> (1945) cost $117,000 to make when the biggest Hollywood studios spent around $600,000 on the average feature. Produced at small <a href="/wiki/Producers_Releasing_Corporation" title="Producers Releasing Corporation">PRC</a>, however, the film was 30 percent over budget.<a href="#cite_note-70">[70]</a></figcaption></figure> Several directors associated with noir built well-respected oeuvres largely at the B-movie/intermediate level. <a href="/wiki/Samuel_Fuller" title="Samuel Fuller">Samuel Fuller</a>'s brutal, visually energetic films such as <a href="/wiki/Pickup_on_South_Street" title="Pickup on South Street">Pickup on South Street</a> (1953) and <a href="/wiki/Underworld_U.S.A." title="Underworld U.S.A.">Underworld U.S.A.</a> (1961) earned him a unique reputation; his advocates praise him as "primitive" and "barbarous".<a href="#cite_note-71">[71]</a><a href="#cite_note-72">[72]</a> <a href="/wiki/Joseph_H._Lewis_(director)" class="mw-redirect" title="Joseph H. Lewis (director)">Joseph H. Lewis</a> directed noirs as diverse as <a href="/wiki/Gun_Crazy" title="Gun Crazy">Gun Crazy</a> (1950) and <a href="/wiki/The_Big_Combo" title="The Big Combo">The Big Combo</a> (1955). The former—whose screenplay was written by the blacklisted <a href="/wiki/Dalton_Trumbo" title="Dalton Trumbo">Dalton Trumbo</a>, disguised by a front—features a bank hold-up sequence shown in an unbroken take of over three minutes that was influential.<a href="#cite_note-73">[73]</a> The Big Combo was shot by John Alton and took the shadowy noir style to its outer limits.<a href="#cite_note-74">[74]</a> The most distinctive films of <a href="/wiki/Phil_Karlson" title="Phil Karlson">Phil Karlson</a> (<a href="/wiki/The_Phenix_City_Story" title="The Phenix City Story">The Phenix City Story</a> [1955] and <a href="/wiki/The_Brothers_Rico" title="The Brothers Rico">The Brothers Rico</a> [1957]) tell stories of vice organized on a monstrous scale.<a href="#cite_note-75">[75]</a> The work of other directors in this tier of the industry, such as <a href="/wiki/Felix_E._Feist" title="Felix E. Feist">Felix E. Feist</a> (<a href="/wiki/The_Devil_Thumbs_a_Ride" title="The Devil Thumbs a Ride">The Devil Thumbs a Ride</a> [1947], <a href="/wiki/Tomorrow_Is_Another_Day_(1951_American_film)" title="Tomorrow Is Another Day (1951 American film)">Tomorrow Is Another Day</a> [1951]), has become obscure. <a href="/wiki/Edgar_G._Ulmer" title="Edgar G. Ulmer">Edgar G. Ulmer</a> spent most of his Hollywood career working at B studios and once in a while on projects that achieved intermediate status; for the most part, on unmistakable Bs. In 1945, while at PRC, he directed a noir cult classic, <a href="/wiki/Detour_(1945_film)" title="Detour (1945 film)">Detour</a>.<a href="#cite_note-76">[76]</a> Ulmer's other noirs include <a href="/wiki/Strange_Illusion" title="Strange Illusion">Strange Illusion</a> (1945), also for PRC; <a href="/wiki/Ruthless_(1948_film)" title="Ruthless (1948 film)">Ruthless</a> (1948), for Eagle-Lion, which had acquired PRC the previous year and <a href="/wiki/Murder_Is_My_Beat" title="Murder Is My Beat">Murder Is My Beat</a> (1955), for Allied Artists. A number of low- and modestly-budgeted noirs were made by independent, often actor-owned, companies contracting with larger studios for distribution. Serving as producer, writer, director and top-billed performer, <a href="/wiki/Hugo_Haas" title="Hugo Haas">Hugo Haas</a> made films like <a href="/wiki/Pickup_(film)" class="mw-redirect" title="Pickup (film)">Pickup</a> (1951), <a href="/wiki/The_Other_Woman_(1954_film)" title="The Other Woman (1954 film)">The Other Woman</a> (1954) and Jacques Tourneur, <a href="/wiki/The_Fearmakers" title="The Fearmakers">The Fearmakers</a> (1958). It was in this way that accomplished noir actress <a href="/wiki/Ida_Lupino" title="Ida Lupino">Ida Lupino</a> established herself as the sole female director in Hollywood during the late 1940s and much of the 1950s. She does not appear in the best-known film she directed, <a href="/wiki/The_Hitch-Hiker" title="The Hitch-Hiker">The Hitch-Hiker</a> (1953), developed by her company, The Filmakers, with support and distribution by RKO.<a href="#cite_note-77">[77]</a> It is one of the seven classic film noirs produced largely outside of the major studios that have been chosen for the United States <a href="/wiki/National_Film_Registry" title="National Film Registry">National Film Registry</a>. Of the others, one was a small-studio release: Detour. Four were independent productions distributed by <a href="/wiki/United_Artists" title="United Artists">United Artists</a>, the "studio without a studio": Gun Crazy; Kiss Me Deadly; <a href="/wiki/D.O.A._(1949_film)" class="mw-redirect" title="D.O.A. (1949 film)">D.O.A.</a> (1950), directed by <a href="/wiki/Rudolph_Mat%C3%A9" title="Rudolph Maté">Rudolph Maté</a> and <a href="/wiki/Sweet_Smell_of_Success" title="Sweet Smell of Success">Sweet Smell of Success</a> (1957), directed by <a href="/wiki/Alexander_Mackendrick" title="Alexander Mackendrick">Alexander Mackendrick</a>. One was an independent distributed by <a href="/wiki/Metro-Goldwyn-Mayer" title="Metro-Goldwyn-Mayer">MGM</a>, the industry leader: <a href="/wiki/Force_of_Evil" title="Force of Evil">Force of Evil</a> (1948), directed by <a href="/wiki/Abraham_Polonsky" title="Abraham Polonsky">Abraham Polonsky</a> and starring <a href="/wiki/John_Garfield" title="John Garfield">John Garfield</a>, both of whom were blacklisted in the 1950s.<a href="#cite_note-78">[78]</a> Independent production usually meant restricted circumstances but Sweet Smell of Success, despite the plans of the production team, was clearly not made on the cheap, though like many other cherished A-budget noirs, it might be said to have a B-movie soul.<a href="#cite_note-79">[79]</a> Perhaps no director better displayed that spirit than the German-born <a href="/wiki/Robert_Siodmak" title="Robert Siodmak">Robert Siodmak</a>, who had already made a score of films before his 1940 arrival in Hollywood. Working mostly on A features, he made eight films now regarded as classic-era noir (a figure matched only by Lang and Mann).<a href="#cite_note-80">[80]</a> In addition to The Killers, <a href="/wiki/Burt_Lancaster" title="Burt Lancaster">Burt Lancaster</a>'s debut and a Hellinger/Universal co-production, Siodmak's other important contributions to the genre include 1944's <a href="/wiki/Phantom_Lady_(1944_film)" class="mw-redirect" title="Phantom Lady (1944 film)">Phantom Lady</a> (a top-of-the-line B and Woolrich adaptation), the ironically titled <a href="/wiki/Christmas_Holiday" title="Christmas Holiday">Christmas Holiday</a> (1944), and <a href="/wiki/Cry_of_the_City" title="Cry of the City">Cry of the City</a> (1948). <a href="/wiki/Criss_Cross_(1949_film)" class="mw-redirect" title="Criss Cross (1949 film)">Criss Cross</a> (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to the noir style for economic reasons: dim lighting saved on electricity and helped cloak cheap sets (mist and smoke also served the cause). Night shooting was often compelled by hurried production schedules. Plots with obscure motivations and intriguingly elliptical transitions were sometimes the consequence of hastily written scripts. There was not always enough time or money to shoot every scene. In Criss Cross, Siodmak achieved these effects, wrapping them around <a href="/wiki/Yvonne_De_Carlo" title="Yvonne De Carlo">Yvonne De Carlo</a>, who played the most understandable of femme fatales; <a href="/wiki/Dan_Duryea" title="Dan Duryea">Dan Duryea</a>, in one of his many charismatic villain roles; and Lancaster as an ordinary laborer turned armed robber, doomed by a romantic obsession.<a href="#cite_note-81">[81]</a> <table style="width:94%; margin:auto; text-align:center; font-size:87%; clear:both;"> <tbody><tr> <td style="text-align:center;"> </td> <th style="background:#dbdaba; font-weight:normal; line-height:normal;">Classic-era film noirs in the <a href="/wiki/National_Film_Registry" title="National Film Registry">National Film Registry</a> </th></tr> <tr> <th style="background-color:#fff; width:55px; background-color:#dbdaba; font-size:11px;"><a href="/wiki/1940s_in_film" title="1940s in film">1940–49</a> </th> <td style="background:#f5f5ec;"> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><div class="hlist"> <ul><li><a href="/wiki/The_Maltese_Falcon_(1941_film)" title="The Maltese Falcon (1941 film)">The Maltese Falcon</a></li> <li><a href="/wiki/Shadow_of_a_Doubt" title="Shadow of a Doubt">Shadow of a Doubt</a></li> <li><a href="/wiki/Laura_(1944_film)" title="Laura (1944 film)">Laura</a></li> <li><a href="/wiki/Double_Indemnity" title="Double Indemnity">Double Indemnity</a></li> <li><a href="/wiki/Mildred_Pierce_(film)" title="Mildred Pierce (film)">Mildred Pierce</a></li> <li><a href="/wiki/The_Lost_Weekend" title="The Lost Weekend">The Lost Weekend</a></li> <li><a href="/wiki/Detour_(1945_film)" title="Detour (1945 film)">Detour</a></li> <li><a href="/wiki/Gilda_(film)" title="Gilda (film)">Gilda</a></li> <li><a href="/wiki/The_Big_Sleep_(1946_film)" title="The Big Sleep (1946 film)">The Big Sleep</a></li> <li><a href="/wiki/The_Killers_(1946_film)" title="The Killers (1946 film)">The Killers</a></li> <li><a href="/wiki/Notorious_(1946_film)" title="Notorious (1946 film)">Notorious</a></li> <li><a href="/wiki/Out_of_the_Past" title="Out of the Past">Out of the Past</a></li> <li><a href="/wiki/The_Lady_from_Shanghai" title="The Lady from Shanghai">The Lady from Shanghai</a></li> <li><a href="/wiki/Force_of_Evil" title="Force of Evil">Force of Evil</a></li> <li><a href="/wiki/The_Naked_City" title="The Naked City">The Naked City</a></li> <li><a href="/wiki/All_the_King%27s_Men_(1949_film)" title="All the King's Men (1949 film)">All the King's Men</a></li> <li><a href="/wiki/White_Heat" title="White Heat">White Heat</a></li></ul> </div> </td></tr> <tr> <th style="background:#dbdaba; font-size:11px;"><a href="/wiki/1950s_in_film" title="1950s in film">1950–58</a> </th> <td style="background:#f5f5ec;"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"> <ul><li><a href="/wiki/Gun_Crazy" title="Gun Crazy">Gun Crazy</a></li> <li><a href="/wiki/D.O.A._(1949_film)" class="mw-redirect" title="D.O.A. (1949 film)">D.O.A.</a></li> <li><a href="/wiki/In_a_Lonely_Place" title="In a Lonely Place">In a Lonely Place</a></li> <li><a href="/wiki/The_Asphalt_Jungle" title="The Asphalt Jungle">The Asphalt Jungle</a></li> <li><a href="/wiki/Sunset_Boulevard_(film)" title="Sunset Boulevard (film)">Sunset Boulevard</a></li> <li><a href="/wiki/The_Hitch-Hiker" title="The Hitch-Hiker">The Hitch-Hiker</a></li> <li><a href="/wiki/The_Big_Heat" title="The Big Heat">The Big Heat</a></li> <li><a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a></li> <li><a href="/wiki/The_Night_of_the_Hunter_(film)" title="The Night of the Hunter (film)">The Night of the Hunter</a></li> <li><a href="/wiki/The_Phenix_City_Story" title="The Phenix City Story">The Phenix City Story</a></li> <li><a href="/wiki/Sweet_Smell_of_Success" title="Sweet Smell of Success">Sweet Smell of Success</a></li> <li><a href="/wiki/Touch_of_Evil" title="Touch of Evil">Touch of Evil</a></li></ul> </div> </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="Outside_the_United_States">Outside the United States</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=8" title="Edit section: Outside the United States">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/60px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/120px-Gnome-mime-sound-openclipart.svg.png 1.5x" data-file-width="160" data-file-height="160" /><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:17_Generique.ogg" title="File:17 Generique.ogg">"Générique" ("Nuit sur les Champs-Élysées")</a></div> <div><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="24" data-mwtitle="17_Generique.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/5/53/17_Generique.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/5/53/17_Generique.ogg/17_Generique.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></div> <div class="description">The moody, evocative music improvised by jazz trumpeter <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a>'s quintet for <a href="/wiki/Ascenseur_pour_l%27%C3%A9chafaud" class="mw-redirect" title="Ascenseur pour l'échafaud">Ascenseur pour l'échafaud</a> (1958) is regarded as one of the definitive noir scores.<a href="#cite_note-82">[82]</a></div></div></div></div> <div class="side-box-abovebelow"><hr />Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</div> </div> Some critics regard classic film noir as a cycle exclusive to the United States; Alain Silver and Elizabeth Ward, for example, argue, "With the Western, film noir shares the distinction of being an indigenous American form ... a wholly American film style."<a href="#cite_note-83">[83]</a> However, although the term "film noir" was originally coined to describe Hollywood movies, it was an international phenomenon.<a href="#cite_note-84">[84]</a> Even before the beginning of the generally accepted classic period, there were films made far from Hollywood that can be seen in retrospect as films noir, for example, the French productions <a href="/wiki/P%C3%A9p%C3%A9_le_Moko" title="Pépé le Moko">Pépé le Moko</a> (1937), directed by <a href="/wiki/Julien_Duvivier" title="Julien Duvivier">Julien Duvivier</a>, and <a href="/wiki/Le_Jour_se_l%C3%A8ve" class="mw-redirect" title="Le Jour se lève">Le Jour se lève</a> (1939), directed by <a href="/wiki/Marcel_Carn%C3%A9" title="Marcel Carné">Marcel Carné</a>.<a href="#cite_note-85">[85]</a> In addition, <a href="/wiki/Mexico" title="Mexico">Mexico</a> experienced a vibrant film noir period from roughly 1946 to 1952, which was around the same time film noir was blossoming in the United States.<a href="#cite_note-86">[86]</a> During the classic period, there were many films produced in Europe, particularly in France, that share elements of style, theme, and sensibility with American films noir and may themselves be included in the genre's canon. In certain cases, the interrelationship with Hollywood noir is obvious: American-born director <a href="/wiki/Jules_Dassin" title="Jules Dassin">Jules Dassin</a> moved to France in the early 1950s as a result of the <a href="/wiki/Hollywood_blacklist" title="Hollywood blacklist">Hollywood blacklist</a>, and made one of the most famous French film noirs, <a href="/wiki/Rififi" title="Rififi">Rififi</a> (1955). Other well-known French films often classified as noir include <a href="/wiki/Quai_des_Orf%C3%A8vres" title="Quai des Orfèvres">Quai des Orfèvres</a> (1947) and <a href="/wiki/Les_Diaboliques_(film)" title="Les Diaboliques (film)">Les Diaboliques</a> (1955), both directed by <a href="/wiki/Henri-Georges_Clouzot" title="Henri-Georges Clouzot">Henri-Georges Clouzot</a>. <a href="/wiki/Casque_d%27Or" title="Casque d'Or">Casque d'Or</a> (1952), <a href="/wiki/Touchez_pas_au_grisbi" title="Touchez pas au grisbi">Touchez pas au grisbi</a> (1954), and <a href="/wiki/Le_Trou" class="mw-redirect" title="Le Trou">Le Trou</a> (1960) directed by <a href="/wiki/Jacques_Becker" title="Jacques Becker">Jacques Becker</a>; and <a href="/wiki/Ascenseur_pour_l%27%C3%A9chafaud" class="mw-redirect" title="Ascenseur pour l'échafaud">Ascenseur pour l'échafaud</a> (1958), directed by <a href="/wiki/Louis_Malle" title="Louis Malle">Louis Malle</a>. French director <a href="/wiki/Jean-Pierre_Melville" title="Jean-Pierre Melville">Jean-Pierre Melville</a> is widely recognized for his tragic, minimalist films noir—<a href="/wiki/Bob_le_flambeur" title="Bob le flambeur">Bob le flambeur</a> (1955), from the classic period, was followed by <a href="/wiki/Le_Doulos" title="Le Doulos">Le Doulos</a> (1962), <a href="/wiki/Le_deuxi%C3%A8me_souffle_(1966_film)" title="Le deuxième souffle (1966 film)">Le deuxième souffle</a> 1966), <a href="/wiki/Le_Samoura%C3%AF" title="Le Samouraï">Le Samouraï</a> (1967), and <a href="/wiki/Le_Cercle_rouge" class="mw-redirect" title="Le Cercle rouge">Le Cercle rouge</a> (1970).<a href="#cite_note-87">[87]</a> In the 1960s, Greek films noir "The Secret of the Red Mantle"<a href="#cite_note-88">[88]</a> and "<a href="/wiki/The_Fear_(1966_film)" title="The Fear (1966 film)">The Fear</a>" allowed audience for an anti-ableist reading which challenged stereotypes of disability. .<a href="#cite_note-89">[89]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:StrayDogShadows.jpg" class="mw-file-description"><img alt="Black-and-white image of two men facing the left of frame, walking in front of a brick wall. A bold series of vertically striped shadows covers the entire image. The middle-aged man to the right wears a white fedora, a medium-dark suit, and an open-collared white shirt. In front of him, to the left of the image, a younger, taller man wears a cream-toned suit, a white beret and shirt, and a light striped tie. Each man holds a pistol in his right hand." src="//upload.wikimedia.org/wikipedia/en/thumb/6/6a/StrayDogShadows.jpg/220px-StrayDogShadows.jpg" decoding="async" width="220" height="156" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/6/6a/StrayDogShadows.jpg/330px-StrayDogShadows.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/6/6a/StrayDogShadows.jpg 2x" data-file-width="375" data-file-height="266" /></a><figcaption><a href="/wiki/Stray_Dog_(film)" title="Stray Dog (film)">Stray Dog</a> (1949), directed and cowritten by <a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Akira Kurosawa</a>, contains many cinematographic and narrative elements associated with classic American film noir.</figcaption></figure> Scholar Andrew Spicer argues that British film noir evidences a greater debt to French poetic realism than to the expressionistic American mode of noir.<a href="#cite_note-90">[90]</a> Examples of British noir (sometimes described as "Brit noir") from the classic period include <a href="/wiki/Brighton_Rock_(1947_film)" class="mw-redirect" title="Brighton Rock (1947 film)">Brighton Rock</a> (1947), directed by <a href="/wiki/John_Boulting" class="mw-redirect" title="John Boulting">John Boulting</a>; <a href="/wiki/They_Made_Me_a_Fugitive" title="They Made Me a Fugitive">They Made Me a Fugitive</a> (1947), directed by <a href="/wiki/Alberto_Cavalcanti" title="Alberto Cavalcanti">Alberto Cavalcanti</a>; <a href="/wiki/The_Small_Back_Room" title="The Small Back Room">The Small Back Room</a> (1948), directed by <a href="/wiki/Michael_Powell" title="Michael Powell">Michael Powell</a> and <a href="/wiki/Emeric_Pressburger" title="Emeric Pressburger">Emeric Pressburger</a>; <a href="/wiki/The_October_Man" title="The October Man">The October Man</a> (1947), directed by <a href="/wiki/Roy_Ward_Baker" title="Roy Ward Baker">Roy Ward Baker</a>; and <a href="/wiki/Cast_a_Dark_Shadow" title="Cast a Dark Shadow">Cast a Dark Shadow</a> (1955), directed by <a href="/wiki/Lewis_Gilbert" title="Lewis Gilbert">Lewis Gilbert</a>. <a href="/wiki/Terence_Fisher" title="Terence Fisher">Terence Fisher</a> directed several low-budget thrillers in a noir mode for <a href="/wiki/Hammer_Film_Productions" title="Hammer Film Productions">Hammer Film Productions</a>, including <a href="/wiki/The_Last_Page" title="The Last Page">The Last Page</a> (a.k.a. Man Bait; 1952), <a href="/wiki/Stolen_Face" title="Stolen Face">Stolen Face</a> (1952), and <a href="/wiki/Murder_by_Proxy" title="Murder by Proxy">Murder by Proxy</a> (a.k.a. Blackout; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film of the classic noir period in Great Britain: <a href="/wiki/Night_and_the_City" title="Night and the City">Night and the City</a> (1950). Though it was conceived in the United States and was not only directed by an American but also stars two American actors—<a href="/wiki/Richard_Widmark" title="Richard Widmark">Richard Widmark</a> and <a href="/wiki/Gene_Tierney" title="Gene Tierney">Gene Tierney</a>—it is technically a UK production, financed by <a href="/wiki/20th_Century-Fox" class="mw-redirect" title="20th Century-Fox">20th Century-Fox</a>'s British subsidiary. The most famous of classic British noirs is director <a href="/wiki/Carol_Reed" title="Carol Reed">Carol Reed</a>'s <a href="/wiki/The_Third_Man" title="The Third Man">The Third Man</a> (1949), from a screenplay by <a href="/wiki/Graham_Greene" title="Graham Greene">Graham Greene</a>. Set in Vienna immediately after World War II, it also stars two American actors, <a href="/wiki/Joseph_Cotten" title="Joseph Cotten">Joseph Cotten</a> and <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a>, who had appeared together in Citizen Kane.<a href="#cite_note-91">[91]</a> Elsewhere, Italian director <a href="/wiki/Luchino_Visconti" title="Luchino Visconti">Luchino Visconti</a> adapted Cain's The Postman Always Rings Twice as <a href="/wiki/Ossessione" title="Ossessione">Ossessione</a> (1943), regarded both as one of the great noirs and a seminal film in the development of neorealism.<a href="#cite_note-92">[92]</a> (This was not even the first screen version of Cain's novel, having been preceded by the French <a href="/wiki/Le_Dernier_Tournant" class="mw-redirect" title="Le Dernier Tournant">Le Dernier Tournant</a> in 1939.)<a href="#cite_note-93">[93]</a> In Japan, the celebrated <a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Akira Kurosawa</a> directed several films recognizable as films noir, including <a href="/wiki/Drunken_Angel" title="Drunken Angel">Drunken Angel</a> (1948), <a href="/wiki/Stray_Dog_(film)" title="Stray Dog (film)">Stray Dog</a> (1949), <a href="/wiki/The_Bad_Sleep_Well" title="The Bad Sleep Well">The Bad Sleep Well</a> (1960), and <a href="/wiki/High_and_Low_(1963_film)" title="High and Low (1963 film)">High and Low</a> (1963).<a href="#cite_note-94">[94]</a> Spanish author Mercedes Formica's novel <a href="/wiki/La_ciudad_perdida" class="mw-redirect" title="La ciudad perdida">La ciudad perdida</a> (The Lost City) was adapted into film in 1960.<a href="#cite_note-95">[95]</a> Among the first major <a href="/wiki/Neo-noir" title="Neo-noir">neo-noir</a> films—the term often applied to films that consciously refer back to the classic noir tradition—was the French <a href="/wiki/Shoot_the_Piano_Player" title="Shoot the Piano Player">Tirez sur le pianiste</a> (1960), directed by <a href="/wiki/Fran%C3%A7ois_Truffaut" title="François Truffaut">François Truffaut</a> from a novel by one of the gloomiest of American noir fiction writers, <a href="/wiki/David_Goodis" title="David Goodis">David Goodis</a>.<a href="#cite_note-96">[96]</a> Noir crime films and melodramas have been produced in many countries in the post-classic area. Some of these are quintessentially self-aware neo-noirs—for example, <a href="/wiki/The_Conformist_(film)" class="mw-redirect" title="The Conformist (film)">Il Conformista</a> (1969; Italy), <a href="/wiki/The_American_Friend" title="The American Friend">Der Amerikanische Freund</a> (1977; Germany), <a href="/wiki/The_Element_of_Crime" title="The Element of Crime">The Element of Crime</a> (1984; Denmark), and <a href="/wiki/El_Aura" class="mw-redirect" title="El Aura">El Aura</a> (2005; Argentina). Others simply share narrative elements and a version of the hardboiled sensibility associated with classic noir, such as <a href="/wiki/Castle_of_Sand" title="Castle of Sand">Castle of Sand</a> (1974; Japan), <a href="/wiki/Insomnia_(1997_film)" title="Insomnia (1997 film)">Insomnia</a> (1997; Norway), <a href="/wiki/Croupier_(film)" title="Croupier (film)">Croupier</a> (1998; UK), and <a href="/wiki/Blind_Shaft" title="Blind Shaft">Blind Shaft</a> (2003; China).<a href="#cite_note-97">[97]</a> <div class="mw-heading mw-heading2"><h2 id="Neo-noir_and_echoes_of_the_classic_mode">Neo-noir and echoes of the classic mode</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=9" title="Edit section: Neo-noir and echoes of the classic mode">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Neo-noir" title="Neo-noir">Neo-noir</a></div> The neo-noir film genre developed mid-way into the Cold War. This cinematological trend reflected much of the cynicism and the possibility of nuclear annihilation of the era. This new genre introduced innovations that were not available to earlier noir films. The violence was also more potent.<a href="#cite_note-Schwartz-98">[98]</a> <div class="mw-heading mw-heading3"><h3 id="1960s_and_1970s">1960s and 1970s</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=10" title="Edit section: 1960s and 1970s">edit</a>]</div> While it is hard to draw a line between some of the noir films of the early 1960s such as <a href="/wiki/Blast_of_Silence" title="Blast of Silence">Blast of Silence</a> (1961) and <a href="/wiki/Cape_Fear_(1962_film)" title="Cape Fear (1962 film)">Cape Fear</a> (1962) and the noirs of the late 1950s, new trends emerged in the post-classic era. <a href="/wiki/The_Manchurian_Candidate_(1962_film)" title="The Manchurian Candidate (1962 film)">The Manchurian Candidate</a> (1962), directed by <a href="/wiki/John_Frankenheimer" title="John Frankenheimer">John Frankenheimer</a>, <a href="/wiki/Shock_Corridor" title="Shock Corridor">Shock Corridor</a> (1963), directed by <a href="/wiki/Samuel_Fuller" title="Samuel Fuller">Samuel Fuller</a>, and <a href="/wiki/Brainstorm_(1965_film)" title="Brainstorm (1965 film)">Brainstorm</a> (1965), directed by experienced noir character actor <a href="/wiki/William_Conrad" title="William Conrad">William Conrad</a>, all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir.<a href="#cite_note-u284286-99">[99]</a> The Manchurian Candidate examined the situation of <a href="/wiki/Korean_War_POWs_detained_in_North_Korea" title="Korean War POWs detained in North Korea">American prisoners of war</a> (POWs) during the <a href="/wiki/Korean_War" title="Korean War">Korean War</a>. Incidents that occurred during the war as well as those post-war functioned as an inspiration for a "Cold War Noir" subgenre.<a href="#cite_note-100">[100]</a><a href="#cite_note-Conway-101">[101]</a> The television series <a href="/wiki/The_Fugitive_(1963_TV_series)" title="The Fugitive (1963 TV series)">The Fugitive</a> (1963–67) brought classic noir themes and mood to the small screen for an extended run.<a href="#cite_note-u284286-99">[99]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:1BelmondoDoesBogey.jpg" class="mw-file-description"><img alt="Black-and-white image of a man seen from mid-chest up, wearing a fedora and a jacket with a houndstooth-like pattern. He holds a cigarette between the middle and index fingers of his left hand and strokes his upper lip with his thumb. He stands in front of what appears to be a mirrored doorway." src="//upload.wikimedia.org/wikipedia/en/thumb/1/1f/1BelmondoDoesBogey.jpg/250px-1BelmondoDoesBogey.jpg" decoding="async" width="220" height="172" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/1/1f/1BelmondoDoesBogey.jpg/330px-1BelmondoDoesBogey.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/1/1f/1BelmondoDoesBogey.jpg 2x" data-file-width="354" data-file-height="276" /></a><figcaption>As car thief Michel Poiccard, a.k.a. Laszlo Kovacs, <a href="/wiki/Jean-Paul_Belmondo" title="Jean-Paul Belmondo">Jean-Paul Belmondo</a> in <a href="/wiki/Breathless_(1960_film)" title="Breathless (1960 film)">À bout de souffle</a> (Breathless; 1960). Poiccard reveres and styles himself after <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Humphrey Bogart</a>'s screen persona. Here he imitates a characteristic Bogart gesture, one of the film's <a href="/wiki/Motif_(narrative)" title="Motif (narrative)">motifs</a>.<a href="#cite_note-102">[102]</a></figcaption></figure> In a different vein, films began to appear that self-consciously acknowledged the conventions of classic film noir as historical <a href="/wiki/Archetypes" class="mw-redirect" title="Archetypes">archetypes</a> to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir.<a href="#cite_note-103">[103]</a> Though several late classic noirs, <a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a> (1955) in particular, were deeply self-knowing and post-traditional in conception, none tipped its hand so evidently as to be remarked on by American critics at the time.<a href="#cite_note-104">[104]</a> The first major film to overtly work this angle was French director <a href="/wiki/Jean-Luc_Godard" title="Jean-Luc Godard">Jean-Luc Godard</a>'s <a href="/wiki/%C3%80_bout_de_souffle" class="mw-redirect" title="À bout de souffle">À bout de souffle</a> (Breathless; 1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day.<a href="#cite_note-105">[105]</a> In the United States, <a href="/wiki/Arthur_Penn" title="Arthur Penn">Arthur Penn</a> (1965's <a href="/wiki/Mickey_One" title="Mickey One">Mickey One</a>, drawing inspiration from Truffaut's <a href="/wiki/Shoot_the_Piano_Player" title="Shoot the Piano Player">Tirez sur le pianiste</a> and other <a href="/wiki/French_New_Wave" title="French New Wave">French New Wave</a> films), <a href="/wiki/John_Boorman" title="John Boorman">John Boorman</a> (1967's <a href="/wiki/Point_Blank_(1967_film)" title="Point Blank (1967 film)">Point Blank</a>, similarly caught up, though in the <a href="/wiki/French_New_Wave" title="French New Wave">Nouvelle vague'</a>s deeper waters), and <a href="/wiki/Alan_J._Pakula" title="Alan J. Pakula">Alan J. Pakula</a> (1971's <a href="/wiki/Klute" title="Klute">Klute</a>) directed films that knowingly related themselves to the original films noir, inviting audiences in on the game.<a href="#cite_note-106">[106]</a> A manifest affiliation with noir traditions—which, by its nature, allows different sorts of commentary on them to be inferred—can also provide the basis for explicit critiques of those traditions. In 1973, director <a href="/wiki/Robert_Altman" title="Robert Altman">Robert Altman</a> flipped off noir piety with <a href="/wiki/The_Long_Goodbye_(film)" title="The Long Goodbye (film)">The Long Goodbye</a>. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in <a href="/wiki/Iconoclasm" title="Iconoclasm">iconoclastic</a> fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary <a href="/wiki/Mores" title="Mores">mores</a> and morality.<a href="#cite_note-107">[107]</a> Where Altman's subversion of the film noir mythos was so irreverent as to outrage some contemporary critics,<a href="#cite_note-108">[108]</a> around the same time <a href="/wiki/Woody_Allen" title="Woody Allen">Woody Allen</a> was paying affectionate, at points idolatrous homage to the classic mode with <a href="/wiki/Play_It_Again,_Sam_(1972_film)" class="mw-redirect" title="Play It Again, Sam (1972 film)">Play It Again, Sam</a> (1972). The "<a href="/wiki/Blaxploitation" title="Blaxploitation">blaxploitation</a>" film <a href="/wiki/Shaft_(1971_film)" title="Shaft (1971 film)">Shaft</a> (1971), wherein <a href="/wiki/Richard_Roundtree" title="Richard Roundtree">Richard Roundtree</a> plays the titular African-American private eye, <a href="/wiki/John_Shaft" title="John Shaft">John Shaft</a>, takes conventions from classic noir. The most acclaimed of the neo-noirs of the era was director <a href="/wiki/Roman_Polanski" title="Roman Polanski">Roman Polanski</a>'s 1974 <a href="/wiki/Chinatown_(1974_film)" title="Chinatown (1974 film)">Chinatown</a>.<a href="#cite_note-109">[109]</a> Written by <a href="/wiki/Robert_Towne" title="Robert Towne">Robert Towne</a>, it is set in 1930s Los Angeles, an accustomed noir locale nudged back some few years in a way that makes the pivotal loss of innocence in the story even crueler. Where Polanski and Towne raised noir to a black apogee by turning rearward, director <a href="/wiki/Martin_Scorsese" title="Martin Scorsese">Martin Scorsese</a> and screenwriter <a href="/wiki/Paul_Schrader" title="Paul Schrader">Paul Schrader</a> brought the noir attitude crashing into the present day with <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a> (1976), a crackling, bloody-minded gloss on bicentennial America.<a href="#cite_note-110">[110]</a> In 1978, <a href="/wiki/Walter_Hill_(filmmaker)" class="mw-redirect" title="Walter Hill (filmmaker)">Walter Hill</a> wrote and directed <a href="/wiki/The_Driver" title="The Driver">The Driver</a>, a chase film as might have been imagined by Jean-Pierre Melville in an especially abstract mood.<a href="#cite_note-111">[111]</a> Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director <a href="/wiki/Sam_Peckinpah" title="Sam Peckinpah">Sam Peckinpah</a>'s <a href="/wiki/The_Getaway_(1972_film)" title="The Getaway (1972 film)">The Getaway</a> (1972), adapting a novel by pulp master <a href="/wiki/Jim_Thompson_(writer)" title="Jim Thompson (writer)">Jim Thompson</a>, as well as for two tough private eye films: an original screenplay for <a href="/wiki/Hickey_%26_Boggs" title="Hickey & Boggs">Hickey & Boggs</a> (1972) and an adaptation of a novel by <a href="/wiki/Ross_Macdonald" title="Ross Macdonald">Ross Macdonald</a>, the leading literary descendant of Hammett and Chandler, for <a href="/wiki/The_Drowning_Pool_(film)" title="The Drowning Pool (film)">The Drowning Pool</a> (1975). Some of the strongest 1970s noirs, in fact, were unwinking remakes of the classics, "neo" mostly by default: the heartbreaking <a href="/wiki/Thieves_Like_Us_(film)" title="Thieves Like Us (film)">Thieves Like Us</a> (1974), directed by Altman from the same source as Ray's They Live by Night, and <a href="/wiki/Farewell,_My_Lovely_(1975_film)" title="Farewell, My Lovely (1975 film)">Farewell, My Lovely</a> (1975), the Chandler tale made classically as Murder, My Sweet, remade here with Robert Mitchum in his last notable noir role.<a href="#cite_note-112">[112]</a> Detective series, prevalent on American television during the period, updated the hardboiled tradition in different ways, but the show conjuring the most noir tone was a horror crossover touched with shaggy, Long Goodbye-style humor: <a href="/wiki/Kolchak:_The_Night_Stalker" title="Kolchak: The Night Stalker">Kolchak: The Night Stalker</a> (1974–75), featuring a Chicago newspaper reporter investigating strange, usually supernatural occurrences.<a href="#cite_note-113">[113]</a> <div class="mw-heading mw-heading3"><h3 id="1980s_and_1990s">1980s and 1990s</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=11" title="Edit section: 1980s and 1990s">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:StoneSmoking.jpg" class="mw-file-description"><img alt="A blonde woman wearing a white jacket, top, and short skirt, her face half in shadow, sitting in an arm chair with her legs crossed. She holds a cigarette to her mouth with her right hand, and raises a lighter with her left. Behind her is dark furniture and the corner of the room, walled with white brick. From between the furniture and walls, unseen, floor-level lights cast a bluish glow over the scene." src="//upload.wikimedia.org/wikipedia/en/thumb/3/3e/StoneSmoking.jpg/250px-StoneSmoking.jpg" decoding="async" width="220" height="171" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/3/3e/StoneSmoking.jpg/330px-StoneSmoking.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/3/3e/StoneSmoking.jpg 2x" data-file-width="358" data-file-height="278" /></a><figcaption><a href="/wiki/Sharon_Stone" title="Sharon Stone">Sharon Stone</a> as <a href="/wiki/Catherine_Tramell" title="Catherine Tramell">Catherine Tramell</a>, archetypal modern <a href="/wiki/Femme_fatale" title="Femme fatale">femme fatale</a>, in <a href="/wiki/Basic_Instinct" title="Basic Instinct">Basic Instinct</a> (1992). Her diabolic nature is underscored by an "extra-lurid visual code", as in the notorious interrogation scene.<a href="#cite_note-W209-114">[114]</a></figcaption></figure> The turn of the decade brought Scorsese's black-and-white <a href="/wiki/Raging_Bull" title="Raging Bull">Raging Bull</a> (1980, cowritten by Schrader). An acknowledged masterpiece—in 2007 the <a href="/wiki/American_Film_Institute" title="American Film Institute">American Film Institute</a> ranked it as the greatest American film of the 1980s and the fourth greatest of all time—it tells the story of a boxer's moral self-destruction that recalls in both theme and visual ambiance noir dramas such as <a href="/wiki/Body_and_Soul_(1947_film)" title="Body and Soul (1947 film)">Body and Soul</a> (1947) and <a href="/wiki/Champion_(1949_film)" title="Champion (1949 film)">Champion</a> (1949).<a href="#cite_note-115">[115]</a> From 1981, <a href="/wiki/Body_Heat" title="Body Heat">Body Heat</a>, written and directed by <a href="/wiki/Lawrence_Kasdan" title="Lawrence Kasdan">Lawrence Kasdan</a>, invokes a different set of classic noir elements, this time in a humid, erotically charged Florida setting. Its success confirmed the commercial viability of neo-noir at a time when the major Hollywood studios were becoming increasingly risk averse. The mainstreaming of neo-noir is evident in such films as <a href="/wiki/Black_Widow_(1987_film)" title="Black Widow (1987 film)">Black Widow</a> (1987), <a href="/wiki/Shattered_(1991_film)" title="Shattered (1991 film)">Shattered</a> (1991), and <a href="/wiki/Final_Analysis" title="Final Analysis">Final Analysis</a> (1992).<a href="#cite_note-116">[116]</a> Few neo-noirs have made more money or more wittily updated the tradition of the noir double entendre than <a href="/wiki/Basic_Instinct" title="Basic Instinct">Basic Instinct</a> (1992), directed by <a href="/wiki/Paul_Verhoeven" title="Paul Verhoeven">Paul Verhoeven</a> and written by <a href="/wiki/Joe_Eszterhas" title="Joe Eszterhas">Joe Eszterhas</a>.<a href="#cite_note-117">[117]</a> The film also demonstrates how neo-noir's polychrome palette can reproduce many of the expressionistic effects of classic black-and-white noir.<a href="#cite_note-W209-114">[114]</a> Like Chinatown, its more complex predecessor, <a href="/wiki/Curtis_Hanson" title="Curtis Hanson">Curtis Hanson</a>'s Oscar-winning <a href="/wiki/L.A._Confidential_(film)" title="L.A. Confidential (film)">L.A. Confidential</a> (1997), based on the <a href="/wiki/James_Ellroy" title="James Ellroy">James Ellroy</a> novel, demonstrates the opposite tendency—the deliberately retro film noir; its tale of corrupt cops and femmes fatale is seemingly lifted straight from a film of 1953, the year in which it is set.<a href="#cite_note-118">[118]</a> Director <a href="/wiki/David_Fincher" title="David Fincher">David Fincher</a> followed the immensely successful neo-noir <a href="/wiki/Seven_(1995_film)" title="Seven (1995 film)">Seven</a> (1995) with a film that developed into a cult favorite after its original, disappointing release: <a href="/wiki/Fight_Club" title="Fight Club">Fight Club</a> (1999), a <a href="/wiki/Sui_generis" title="Sui generis">sui generis</a> mix of noir aesthetic, perverse comedy, speculative content, and satiric intent.<a href="#cite_note-119">[119]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1096940132" /><div class="side-box side-box-right listen noprint"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409" /> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/60px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/120px-Gnome-mime-sound-openclipart.svg.png 1.5x" data-file-width="160" data-file-height="160" /><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:Dub_Driving_Sample_from_Lost_Highway_CD_(Interscope_Records).ogg" title="File:Dub Driving Sample from Lost Highway CD (Interscope Records).ogg">"Dub Driving"</a></div> <div><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="31" data-mwtitle="Dub_Driving_Sample_from_Lost_Highway_CD_(Interscope_Records).ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/b/bb/Dub_Driving_Sample_from_Lost_Highway_CD_%28Interscope_Records%29.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/b/bb/Dub_Driving_Sample_from_Lost_Highway_CD_%28Interscope_Records%29.ogg/Dub_Driving_Sample_from_Lost_Highway_CD_%28Interscope_Records%29.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></div> <div class="description"><a href="/wiki/Angelo_Badalamenti" title="Angelo Badalamenti">Angelo Badalamenti</a> has scored most of <a href="/wiki/David_Lynch" title="David Lynch">David Lynch</a>'s noir-related work. His work on this track typifies a "modern noir" style, which the director explicitly sought for <a href="/wiki/Lost_Highway_(film)" title="Lost Highway (film)">Lost Highway</a> (1997).<a href="#cite_note-120">[120]</a></div></div></div></div> <div class="side-box-abovebelow"><hr />Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</div> </div> Working generally with much smaller budgets, brothers <a href="/wiki/Joel_and_Ethan_Coen" class="mw-redirect" title="Joel and Ethan Coen">Joel and Ethan Coen</a> have created one of the most extensive oeuvres influenced by classic noir, with films such as <a href="/wiki/Blood_Simple" title="Blood Simple">Blood Simple</a> (1984)<a href="#cite_note-121">[121]</a> and <a href="/wiki/Fargo_(1996_film)" title="Fargo (1996 film)">Fargo</a> (1996), the latter considered by some a supreme work in the neo-noir mode.<a href="#cite_note-122">[122]</a> The Coens cross noir with other generic traditions in the gangster drama <a href="/wiki/Miller%27s_Crossing" title="Miller's Crossing">Miller's Crossing</a> (1990)—loosely based on the Dashiell Hammett novels Red Harvest and <a href="/wiki/The_Glass_Key" title="The Glass Key">The Glass Key</a>—and the comedy <a href="/wiki/The_Big_Lebowski" title="The Big Lebowski">The Big Lebowski</a> (1998), a tribute to Chandler and an homage to Altman's version of The Long Goodbye.<a href="#cite_note-123">[123]</a> The characteristic work of <a href="/wiki/David_Lynch" title="David Lynch">David Lynch</a> combines film noir tropes with scenarios driven by disturbed characters such as the sociopathic criminal played by <a href="/wiki/Dennis_Hopper" title="Dennis Hopper">Dennis Hopper</a> in <a href="/wiki/Blue_Velvet_(film)" title="Blue Velvet (film)">Blue Velvet</a> (1986) and the delusionary protagonist of <a href="/wiki/Lost_Highway_(film)" title="Lost Highway (film)">Lost Highway</a> (1997). The Twin Peaks cycle, both the <a href="/wiki/Twin_Peaks" title="Twin Peaks">TV series</a> (1990–91) and a film, <a href="/wiki/Twin_Peaks:_Fire_Walk_with_Me" title="Twin Peaks: Fire Walk with Me">Fire Walk with Me</a> (1992), puts a detective plot through a succession of bizarre spasms. <a href="/wiki/David_Cronenberg" title="David Cronenberg">David Cronenberg</a> also mixes surrealism and noir in <a href="/wiki/Naked_Lunch_(film)" title="Naked Lunch (film)">Naked Lunch</a> (1991), inspired by <a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William S. Burroughs</a>' <a href="/wiki/Naked_Lunch" title="Naked Lunch">novel</a>. Perhaps no American neo-noirs better reflect the classic noir B movie spirit than those of director-writer <a href="/wiki/Quentin_Tarantino" title="Quentin Tarantino">Quentin Tarantino</a>.<a href="#cite_note-124">[124]</a> Neo-noirs of his such as <a href="/wiki/Reservoir_Dogs" title="Reservoir Dogs">Reservoir Dogs</a> (1992) and <a href="/wiki/Pulp_Fiction" title="Pulp Fiction">Pulp Fiction</a> (1994) display a relentlessly self-reflexive, sometimes tongue-in-cheek sensibility, similar to the work of the New Wave directors and the Coens. Other films from the era readily identifiable as neo-noir (some retro, some more au courant) include director <a href="/wiki/John_Dahl" title="John Dahl">John Dahl</a>'s <a href="/wiki/Kill_Me_Again" title="Kill Me Again">Kill Me Again</a> (1989), <a href="/wiki/Red_Rock_West" title="Red Rock West">Red Rock West</a> (1992), and <a href="/wiki/The_Last_Seduction" title="The Last Seduction">The Last Seduction</a> (1993); four adaptations of novels by Jim Thompson—<a href="/wiki/The_Kill-Off" title="The Kill-Off">The Kill-Off</a> (1989), <a href="/wiki/After_Dark,_My_Sweet" title="After Dark, My Sweet">After Dark, My Sweet</a> (1990), <a href="/wiki/The_Grifters_(film)" title="The Grifters (film)">The Grifters</a> (1990), and the remake of <a href="/wiki/The_Getaway_(1994_film)" title="The Getaway (1994 film)">The Getaway</a> (1994); and many more, including adaptations of the work of other major noir fiction writers: <a href="/wiki/The_Hot_Spot" title="The Hot Spot">The Hot Spot</a> (1990), from Hell Hath No Fury, by <a href="/wiki/Charles_Williams_(U.S._author)" class="mw-redirect" title="Charles Williams (U.S. author)">Charles Williams</a>; <a href="/wiki/Miami_Blues" title="Miami Blues">Miami Blues</a> (1990), from the novel by <a href="/wiki/Charles_Willeford" title="Charles Willeford">Charles Willeford</a>; and <a href="/wiki/Out_of_Sight_(1998_film)" class="mw-redirect" title="Out of Sight (1998 film)">Out of Sight</a> (1998), from the novel by <a href="/wiki/Elmore_Leonard" title="Elmore Leonard">Elmore Leonard</a>.<a href="#cite_note-rough279-125">[125]</a> Several films by director-writer <a href="/wiki/David_Mamet" title="David Mamet">David Mamet</a> involve noir elements: <a href="/wiki/House_of_Games" title="House of Games">House of Games</a> (1987), <a href="/wiki/Homicide_(1991_film)" title="Homicide (1991 film)">Homicide</a> (1991),<a href="#cite_note-criterion.com-126">[126]</a> <a href="/wiki/The_Spanish_Prisoner" title="The Spanish Prisoner">The Spanish Prisoner</a> (1997), and <a href="/wiki/Heist_(2001_film)" title="Heist (2001 film)">Heist</a> (2001).<a href="#cite_note-127">[127]</a> On television, <a href="/wiki/Moonlighting_(TV_series)" title="Moonlighting (TV series)">Moonlighting</a> (1985–89) paid homage to classic noir while demonstrating an unusual appreciation of the sense of humor often found in the original cycle.<a href="#cite_note-rough279-125">[125]</a> Between 1983 and 1989, <a href="/wiki/Mickey_Spillane" title="Mickey Spillane">Mickey Spillane</a>'s hardboiled private eye Mike Hammer was played with wry gusto by <a href="/wiki/Stacy_Keach" title="Stacy Keach">Stacy Keach</a> in a <a href="/wiki/Mickey_Spillane%27s_Mike_Hammer_(1984_TV_series)" title="Mickey Spillane's Mike Hammer (1984 TV series)">series</a> and several stand-alone television films (an unsuccessful revival followed in 1997–98). The British miniseries <a href="/wiki/The_Singing_Detective" title="The Singing Detective">The Singing Detective</a> (1986), written by <a href="/wiki/Dennis_Potter" title="Dennis Potter">Dennis Potter</a>, tells the story of a mystery writer named Philip Marlow; widely considered one of the finest neo-noirs in any medium, some critics rank it among the greatest television productions of all time.<a href="#cite_note-128">[128]</a> <div class="mw-heading mw-heading3"><h3 id="Neon-noir">Neon-noir</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=12" title="Edit section: Neon-noir">edit</a>]</div> Among big-budget auteurs, <a href="/wiki/Michael_Mann_(film_director)" class="mw-redirect" title="Michael Mann (film director)">Michael Mann</a> has worked frequently in a neo-noir mode, with such films as <a href="/wiki/Thief_(film)" title="Thief (film)">Thief</a> (1981)<a href="#cite_note-criterion.com-126">[126]</a> and <a href="/wiki/Heat_(1995_film)" title="Heat (1995 film)">Heat</a> (1995) and the TV series <a href="/wiki/Miami_Vice" title="Miami Vice">Miami Vice</a> (1984–89) and <a href="/wiki/Crime_Story_(U.S._TV_series)" class="mw-redirect" title="Crime Story (U.S. TV series)">Crime Story</a> (1986–88). Mann's output exemplifies a primary strain of neo-noir, or as it is affectionately called, "neon noir",<a href="#cite_note-129">[129]</a><a href="#cite_note-130">[130]</a> in which classic themes and tropes are revisited in a contemporary setting with an up-to-date visual style and <a href="/wiki/Rock_music" title="Rock music">rock</a>- or <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">hip hop</a>-based musical <a href="/wiki/Soundtrack" title="Soundtrack">soundtrack</a>.<a href="#cite_note-131">[131]</a> Neo-noir film borrows from and reflects many of the characteristics of the film noir: the presence of crime and violence, complex characters and plot-lines, mystery, and moral ambivalence, all of which come into play in the neon-noir sub-genre. But more than just exhibiting the superficial traits of the genre, neon-noir emphasizes the socio-critique of film noir, recalling the specific socio-cultural dimensions of the interwar years when noirs first became prominent; a time of global existential crisis, depression and the mass movement of the rural population to cities. Long shots or montages of cityscapes, often portrayed as dark and menacing, are suggestive of what Dueck referred to as a ‘bleak societal perspective’,<a href="#cite_note-132">[132]</a> providing a critique on <a href="/wiki/Global_capitalism" class="mw-redirect" title="Global capitalism">global capitalism</a> and <a href="/wiki/Consumerism" title="Consumerism">consumerism</a>. Other characteristics include the use of highly stylized lighting techniques such <a href="/wiki/Chiaroscuro" title="Chiaroscuro">chiaroscuro</a>, and neon signs and brightly lit buildings that provide a sense of <a href="/wiki/Social_alienation" title="Social alienation">alienation</a> and <a href="/wiki/Entrapment" title="Entrapment">entrapment</a>. Accentuating the use of artificial and neon lighting in the films-noir of the '40s and '50s, neon-noir films accentuate this aesthetic with electrifying color and manipulated light in order to highlight their socio-cultural critiques and their references to contemporary and pop culture. In doing so, neon-noir films present the themes of urban decay, consumerist decadence and capitalism, <a href="/wiki/Existentialism" title="Existentialism">existentialism</a>, sexuality, and issues of <a href="/wiki/Race_and_violence" class="mw-redirect" title="Race and violence">race and violence</a> in the contemporary culture, not only in America, but the globalized world at large. Neon-noirs seek to bring the contemporary noir, somewhat diluted under the umbrella of neo-noir, back to the exploration of culture: class, race, gender, patriarchy, and capitalism. Neon-noirs present an existential exploration of society in a hyper-technological and globalized world. Illustrating society as decadent and <a href="/wiki/Consumerist" title="Consumerist">consumerist</a>, and identity as confused and anxious, neon-noirs reposition the contemporary noir in the setting of <a href="/wiki/Urban_decay" title="Urban decay">urban decay</a>, often featuring scenes set in underground city haunts: brothels, nightclubs, casinos, strip bars, pawnshops, laundromats. Neon-noirs were popularized in the '70s and '80s by films such as <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a> (1976), <a href="/wiki/Blade_Runner" title="Blade Runner">Blade Runner</a> (1982),<a href="#cite_note-133">[133]</a> and films from <a href="/wiki/David_Lynch" title="David Lynch">David Lynch</a>, such as <a href="/wiki/Blue_Velvet_(film)" title="Blue Velvet (film)">Blue Velvet</a> (1986) and later, <a href="/wiki/Lost_Highway_(film)" title="Lost Highway (film)">Lost Highway</a> (1997). Other titles from this era included <a href="/wiki/Brian_De_Palma" title="Brian De Palma">Brian De Palma</a>'s <a href="/wiki/Blow_Out" title="Blow Out">Blow Out</a> (1981) and the <a href="/wiki/Coen_Brothers" class="mw-redirect" title="Coen Brothers">Coen Brothers</a>' debut <a href="/wiki/Blood_Simple" title="Blood Simple">Blood Simple</a> (1984).<a href="#cite_note-134">[134]</a><a href="#cite_note-135">[135]</a> More currently, films such as <a href="/wiki/Harmony_Korine" title="Harmony Korine">Harmony Korine</a>’s highly provocative <a href="/wiki/Spring_Breakers" title="Spring Breakers">Spring Breakers</a> (2012),<a href="#cite_note-136">[136]</a> and <a href="/wiki/Danny_Boyle" title="Danny Boyle">Danny Boyle</a>’s <a href="/wiki/Trance_(2013_film)" title="Trance (2013 film)">Trance</a> (2013) have been especially noted for their neon-infused rendering of film noir; while Trance was celebrated for ‘shak(ing) the ingredients (of the noir) like colored sand in a jar’, Spring Breakers notoriously produced a slew of criticism<a href="#cite_note-137">[137]</a> referring to its ‘fever-dream’ aesthetic and ‘neon-caked explosion of excess’ (Kohn).<a href="#cite_note-138">[138]</a> Neon-noir can be seen as a response to the over-use of the term neo-noir. While the term neo-noir functions to bring noir into the contemporary landscape, it has often been criticized for its dilution of the noir genre. Author Robert Arnett commented on its "amorphous" reach: "any film featuring a detective or crime qualifies".<a href="#cite_note-139">[139]</a> The neon-noir, more specifically, seeks to revive noir sensibilities in a more targeted manner of reference, focalizing socio-cultural commentary and a hyper-stylized aesthetic. <div class="mw-heading mw-heading3"><h3 id="2000s_and_2010s">2000s and 2010s</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=13" title="Edit section: 2000s and 2010s">edit</a>]</div> The Coen brothers make reference to the noir tradition again with <a href="/wiki/The_Man_Who_Wasn%27t_There_(2001_film)" title="The Man Who Wasn't There (2001 film)">The Man Who Wasn't There</a> (2001); a black-and-white crime melodrama set in 1949; it features a scene apparently staged to mirror one from Out of the Past. Lynch's <a href="/wiki/Mulholland_Drive_(film)" title="Mulholland Drive (film)">Mulholland Drive</a> (2001) continued in his characteristic vein, making the classic noir setting of Los Angeles the venue for a noir-inflected psychological jigsaw puzzle. British-born director <a href="/wiki/Christopher_Nolan" title="Christopher Nolan">Christopher Nolan</a>'s black-and-white debut, <a href="/wiki/Following" title="Following">Following</a> (1998), was an overt homage to classic noir. During the new century's first decade, he was one of the leading Hollywood directors of neo-noir with the acclaimed <a href="/wiki/Memento_(film)" title="Memento (film)">Memento</a> (2000) and the remake of <a href="/wiki/Insomnia_(2002_film)" title="Insomnia (2002 film)">Insomnia</a> (2002).<a href="#cite_note-140">[140]</a> Director <a href="/wiki/Sean_Penn" title="Sean Penn">Sean Penn</a>'s <a href="/wiki/The_Pledge_(film)" title="The Pledge (film)">The Pledge</a> (2001), though adapted from a very self-reflexive novel by <a href="/wiki/Friedrich_D%C3%BCrrenmatt" title="Friedrich Dürrenmatt">Friedrich Dürrenmatt</a>, plays noir comparatively straight, to devastating effect[<a href="/wiki/Wikipedia:Neutral_point_of_view" title="Wikipedia:Neutral point of view">neutrality</a> is <a href="/wiki/Talk:Film_noir" title="Talk:Film noir">disputed</a>].<a href="#cite_note-141">[141]</a> Screenwriter <a href="/wiki/David_Ayer" title="David Ayer">David Ayer</a> updated the classic noir bad-cop tale, typified by <a href="/wiki/Shield_for_Murder" title="Shield for Murder">Shield for Murder</a> (1954) and <a href="/wiki/Rogue_Cop" title="Rogue Cop">Rogue Cop</a> (1954), with his scripts for <a href="/wiki/Training_Day" title="Training Day">Training Day</a> (2001) and, adapting a story by James Ellroy, <a href="/wiki/Dark_Blue_(film)" title="Dark Blue (film)">Dark Blue</a> (2002); he later wrote and directed the even darker <a href="/wiki/Harsh_Times_(film)" title="Harsh Times (film)">Harsh Times</a> (2006). Michael Mann's <a href="/wiki/Collateral_(film)" title="Collateral (film)">Collateral</a> (2004) features a performance by <a href="/wiki/Tom_Cruise" title="Tom Cruise">Tom Cruise</a> as an assassin in the lineage of Le Samouraï. The torments of <a href="/wiki/The_Machinist" title="The Machinist">The Machinist</a> (2004), directed by <a href="/wiki/Brad_Anderson_(director)" title="Brad Anderson (director)">Brad Anderson</a>, evoke both Fight Club and Memento.<a href="#cite_note-142">[142]</a> In 2005, <a href="/wiki/Shane_Black" title="Shane Black">Shane Black</a> directed <a href="/wiki/Kiss_Kiss_Bang_Bang" title="Kiss Kiss Bang Bang">Kiss Kiss Bang Bang</a>, basing his screenplay in part on a crime novel by <a href="/wiki/Brett_Halliday" title="Brett Halliday">Brett Halliday</a>, who published his first stories back in the 1920s. The film plays with an awareness not only of classic noir but also of neo-noir reflexivity itself.<a href="#cite_note-143">[143]</a> With ultra-violent films such as <a href="/wiki/Sympathy_for_Mr._Vengeance" title="Sympathy for Mr. Vengeance">Sympathy for Mr. Vengeance</a> (2002) and <a href="/wiki/Thirst_(2009_film)" title="Thirst (2009 film)">Thirst</a> (2009), <a href="/wiki/Park_Chan-wook" title="Park Chan-wook">Park Chan-wook</a> of South Korea has been the most prominent director outside of the United States to work regularly in a noir mode in the new millennium.<a href="#cite_note-144">[144]</a> The most commercially successful neo-noir of this period has been <a href="/wiki/Sin_City_(film)" title="Sin City (film)">Sin City</a> (2005), directed by <a href="/wiki/Robert_Rodriguez" title="Robert Rodriguez">Robert Rodriguez</a> in extravagantly stylized black and white with splashes of color.<a href="#cite_note-145">[145]</a> The film is based on <a href="/wiki/Sin_City" title="Sin City">a series of comic books</a> created by <a href="/wiki/Frank_Miller" title="Frank Miller">Frank Miller</a> (credited as the film's codirector), which are in turn openly indebted to the works of Spillane and other <a href="/wiki/Pulp_magazine" title="Pulp magazine">pulp</a> mystery authors.<a href="#cite_note-146">[146]</a><a href="#cite_note-147">[147]</a> Similarly, <a href="/wiki/Graphic_novels" class="mw-redirect" title="Graphic novels">graphic novels</a> provide the basis for <a href="/wiki/Road_to_Perdition" title="Road to Perdition">Road to Perdition</a> (2002), directed by <a href="/wiki/Sam_Mendes" title="Sam Mendes">Sam Mendes</a>, and <a href="/wiki/A_History_of_Violence_(film)" class="mw-redirect" title="A History of Violence (film)">A History of Violence</a> (2005), directed by <a href="/wiki/David_Cronenberg" title="David Cronenberg">David Cronenberg</a>; the latter was voted best film of the year in the annual <a href="/wiki/Village_Voice" class="mw-redirect" title="Village Voice">Village Voice</a> poll.<a href="#cite_note-148">[148]</a> Writer-director <a href="/wiki/Rian_Johnson" title="Rian Johnson">Rian Johnson</a>'s <a href="/wiki/Brick_(film)" title="Brick (film)">Brick</a> (2005), featuring present-day high schoolers speaking a version of 1930s hardboiled argot, won the Special Jury Prize for Originality of Vision at the <a href="/wiki/Sundance_Film_Festival" title="Sundance Film Festival">Sundance Film Festival</a>. The television series <a href="/wiki/Veronica_Mars" title="Veronica Mars">Veronica Mars</a> (2004–07, 2019) and the movie <a href="/wiki/Veronica_Mars" title="Veronica Mars">Veronica Mars</a> (2014) also brought a youth-oriented twist to film noir. Examples of this sort of generic crossover have been dubbed "teen noir".<a href="#cite_note-149">[149]</a><a href="#cite_note-150">[150]</a> Neo-noir films released in the 2010s include <a href="/wiki/Kim_Jee-woon" title="Kim Jee-woon">Kim Jee-woon</a>’s <a href="/wiki/I_Saw_the_Devil" title="I Saw the Devil">I Saw the Devil</a> (2010), Fred Cavaye’s <a href="/wiki/Point_Blank_(2010_film)" title="Point Blank (2010 film)">Point Blank</a> (2010), <a href="/wiki/Na_Hong-jin" title="Na Hong-jin">Na Hong-jin</a>’s <a href="/wiki/The_Yellow_Sea_(film)" title="The Yellow Sea (film)">The Yellow Sea</a> (2010), <a href="/wiki/Nicolas_Winding_Refn" title="Nicolas Winding Refn">Nicolas Winding Refn</a>’s <a href="/wiki/Drive_(2011_film)" title="Drive (2011 film)">Drive</a> (2011),<a href="#cite_note-151">[151]</a> <a href="/wiki/Claire_Denis" title="Claire Denis">Claire Denis</a>' <a href="/wiki/Bastards_(2013_film)" title="Bastards (2013 film)">Bastards</a> (2013)<a href="#cite_note-152">[152]</a><a href="#cite_note-153">[153]</a> and <a href="/wiki/Dan_Gilroy" title="Dan Gilroy">Dan Gilroy</a>'s <a href="/wiki/Nightcrawler_(film)" title="Nightcrawler (film)">Nightcrawler</a> (2014). <div class="mw-heading mw-heading3"><h3 id="2020s">2020s</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=14" title="Edit section: 2020s">edit</a>]</div> The <a href="/wiki/Science_Channel" title="Science Channel">Science Channel</a> broadcast the 2021 science documentary series <a href="/wiki/Killers_of_the_Cosmos" title="Killers of the Cosmos">Killers of the Cosmos</a> in a format it describes as "space noir." In the series, actor <a href="/wiki/Aidan_Gillen" title="Aidan Gillen">Aidan Gillen</a> in animated form serves as the host of the series while portraying a <a href="/wiki/Private_investigator" title="Private investigator">private investigator</a> who takes on "cases" in which he "hunts down" lethal threats to humanity posed by the <a href="/wiki/Cosmos" title="Cosmos">cosmos</a>. The animated sequences combine the characteristics of film noir with those of a pulp fiction graphic novel set in the mid-20th century, and they link conventional live-action documentary segments in which experts describe the potentially deadly phenomena.<a href="#cite_note-154">[154]</a><a href="#cite_note-155">[155]</a><a href="#cite_note-156">[156]</a><a href="#cite_note-157">[157]</a> <div class="mw-heading mw-heading3"><h3 id="Science_fiction_noir">Science fiction noir</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=15" title="Edit section: Science fiction noir">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Tech_noir" title="Tech noir">Tech noir</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:BladeRunnerSS.jpg" class="mw-file-description"><img alt="A man with close-cropped hair wearing a brown jacket sits at a counter, holding a pair of chopsticks poised over a rice bowl. Rain cascades down beside him as if from the edge of an awning. In the foreground is a teapot, several bottles, and other dining accessories. Steam or smoke rises from an unseen source. In the background, two standing men look down at the central figure. The goateed man on the left wears a dark snap-brim hat, a black coat with upturned collar, and a gold-trimmed vest. The man on the right, partly obscured by the steam, is wearing a constabulary-style uniform, featuring large wrap-around shades and a hat or helmet with a glossy, stiff brim. There is a bluish cast to the entire image." src="//upload.wikimedia.org/wikipedia/en/thumb/a/af/BladeRunnerSS.jpg/220px-BladeRunnerSS.jpg" decoding="async" width="220" height="144" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/af/BladeRunnerSS.jpg/330px-BladeRunnerSS.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/a/af/BladeRunnerSS.jpg 2x" data-file-width="400" data-file-height="262" /></a><figcaption><a href="/wiki/Harrison_Ford" title="Harrison Ford">Harrison Ford</a> as detective Rick Deckard in <a href="/wiki/Blade_Runner" title="Blade Runner">Blade Runner</a> (1982). Like many classic noirs, the film is set in a version of Los Angeles where it constantly rains.<a href="#cite_note-158">[158]</a> The steam in the foreground is a familiar noir trope, while the "bluish-smoky exterior" updates the black-and-white mode.<a href="#cite_note-159">[159]</a></figcaption></figure> In the post-classic era, a significant trend in noir crossovers has involved <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a>. In Jean-Luc Godard's <a href="/wiki/Alphaville_(film)" title="Alphaville (film)">Alphaville</a> (1965), Lemmy Caution is the name of the old-school private eye in the city of tomorrow. <a href="/wiki/The_Groundstar_Conspiracy" title="The Groundstar Conspiracy">The Groundstar Conspiracy</a> (1972) centers on another implacable investigator and an amnesiac named Welles. <a href="/wiki/Soylent_Green" title="Soylent Green">Soylent Green</a> (1973), the first major American example, portrays a dystopian, near-future world via a noir detection plot; starring <a href="/wiki/Charlton_Heston" title="Charlton Heston">Charlton Heston</a> (the lead in Touch of Evil), it also features classic noir standbys Joseph Cotten, Edward G. Robinson, and <a href="/wiki/Whit_Bissell" title="Whit Bissell">Whit Bissell</a>. The film was directed by <a href="/wiki/Richard_Fleischer" title="Richard Fleischer">Richard Fleischer</a>, who two decades before had directed several strong B noirs, including <a href="/wiki/Armored_Car_Robbery" title="Armored Car Robbery">Armored Car Robbery</a> (1950) and <a href="/wiki/The_Narrow_Margin" title="The Narrow Margin">The Narrow Margin</a> (1952).<a href="#cite_note-160">[160]</a> The cynical and stylized perspective of classic film noir had a formative effect on the <a href="/wiki/Cyberpunk" title="Cyberpunk">cyberpunk</a> genre of science fiction that emerged in the early 1980s; the film most directly influential on cyberpunk was <a href="/wiki/Blade_Runner" title="Blade Runner">Blade Runner</a> (1982), directed by <a href="/wiki/Ridley_Scott" title="Ridley Scott">Ridley Scott</a>, which pays evocative homage to the classic noir mode<a href="#cite_note-161">[161]</a> (Scott subsequently directed the poignant 1987 noir crime melodrama <a href="/wiki/Someone_to_Watch_Over_Me_(film)" title="Someone to Watch Over Me (film)">Someone to Watch Over Me</a>). Scholar Jamaluddin Bin Aziz has observed how "the shadow of <a href="/wiki/Philip_Marlowe" title="Philip Marlowe">Philip Marlowe</a> lingers on" in such other "future noir" films as <a href="/wiki/12_Monkeys" title="12 Monkeys">12 Monkeys</a> (1995), <a href="/wiki/Dark_City_(1998_film)" title="Dark City (1998 film)">Dark City</a> (1998) and <a href="/wiki/Minority_Report_(film)" title="Minority Report (film)">Minority Report</a> (2002).<a href="#cite_note-162">[162]</a> Fincher's feature debut was <a href="/wiki/Alien_3" title="Alien 3">Alien 3</a> (1992), which evoked the classic noir jail film <a href="/wiki/Brute_Force_(1947_film)" title="Brute Force (1947 film)">Brute Force</a>. David Cronenberg's <a href="/wiki/Crash_(1996_film)" title="Crash (1996 film)">Crash</a> (1996), an adaptation of <a href="/wiki/Crash_(1973_novel)" class="mw-redirect" title="Crash (1973 novel)">the speculative novel</a> by <a href="/wiki/J._G._Ballard" title="J. G. Ballard">J. G. Ballard</a>, has been described as a "film noir in bruise tones".<a href="#cite_note-163">[163]</a> The hero is the target of investigation in <a href="/wiki/Gattaca" title="Gattaca">Gattaca</a> (1997), which fuses film noir motifs with a scenario indebted to <a href="/wiki/Brave_New_World" title="Brave New World">Brave New World</a>. <a href="/wiki/The_Thirteenth_Floor" title="The Thirteenth Floor">The Thirteenth Floor</a> (1999), like Blade Runner, is an explicit homage to classic noir, in this case involving speculations about <a href="/wiki/Virtual_reality" title="Virtual reality">virtual reality</a>. Science fiction, noir, and <a href="/wiki/Anime" title="Anime">anime</a> are brought together in the Japanese films of 90s <a href="/wiki/Ghost_in_the_Shell_(1995_film)" title="Ghost in the Shell (1995 film)">Ghost in the Shell</a> (1995) and <a href="/wiki/Ghost_in_the_Shell_2:_Innocence" title="Ghost in the Shell 2: Innocence">Ghost in the Shell 2: Innocence</a> (2004), both directed by <a href="/wiki/Mamoru_Oshii" title="Mamoru Oshii">Mamoru Oshii</a>.<a href="#cite_note-bg234-164">[164]</a> <a href="/wiki/The_Animatrix" title="The Animatrix">The Animatrix</a> (2003), based on and set within the world of <a href="/wiki/The_Matrix_(franchise)" title="The Matrix (franchise)">The Matrix</a> film trilogy, contains an anime short film in classic noir style titled "A Detective Story".<a href="#cite_note-165">[165]</a> Anime television series with science fiction noir themes include <a href="/wiki/Noir_(anime)" class="mw-redirect" title="Noir (anime)">Noir</a> (2001)<a href="#cite_note-bg234-164">[164]</a> and <a href="/wiki/Cowboy_Bebop" title="Cowboy Bebop">Cowboy Bebop</a> (1998).<a href="#cite_note-166">[166]</a> The 2015 film <a href="/wiki/Ex_Machina_(film)" title="Ex Machina (film)">Ex Machina</a> puts an understated film noir spin on the <a href="/wiki/Frankenstein" title="Frankenstein">Frankenstein</a> mythos, with the sentient <a href="/wiki/Android_(robot)" title="Android (robot)">android</a> Ava as a potential femme fatale, her creator Nathan embodying the abusive husband or father trope, and her would-be rescuer Caleb as a "clueless drifter" enthralled by Ava.<a href="#cite_note-167">[167]</a> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading3"><h3 id="Rural/outback_noir">Rural/outback noir</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=16" title="Edit section: Rural/outback noir">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Rural_noir_(fiction)" class="mw-redirect" title="Rural noir (fiction)">Rural noir (fiction)</a></div> A sub-genre of noir fiction has been named "rural noir" in the US;<a href="#cite_note-rise2019-168">[168]</a><a href="#cite_note-bouman2015-169">[169]</a> and sometimes "outback noir" in Australia.<a href="#cite_note-heath2023-170">[170]</a><a href="#cite_note-burge2024-171">[171]</a> Many rural noir novels have been adapted for film and TV series in both countries, such as <a href="/wiki/Ozark_(TV_series)" title="Ozark (TV series)">Ozark</a>, <a href="/wiki/No_Country_for_Old_Men" title="No Country for Old Men">No Country for Old Men</a>,<a href="#cite_note-rise2019-168">[168]</a> and <a href="/wiki/Big_Sky_(American_TV_series)" title="Big Sky (American TV series)">Big Sky</a> in the US,<a href="#cite_note-172">[172]</a> and <a href="/wiki/Troppo_(TV_series)" title="Troppo (TV series)">Troppo</a>, <a href="/wiki/The_Dry_(film)" title="The Dry (film)">The Dry</a> (and its sequel <a href="/wiki/Force_of_Nature:_The_Dry_2" title="Force of Nature: The Dry 2">Force of Nature: The Dry 2</a>), <a href="/wiki/Scrublands_(TV_series)" title="Scrublands (TV series)">Scrublands</a>,<a href="#cite_note-heath2023-170">[170]</a> and <a href="/wiki/High_Country_(TV_series)" title="High Country (TV series)">High Country</a> (2024) in Australia.<a href="#cite_note-173">[173]</a> In Australia, outback noir increasingly includes issues relating to <a href="/wiki/Indigenous_Australians" title="Indigenous Australians">Indigenous Australians</a>,<a href="#cite_note-heath2023-170">[170]</a> such as the dispossession of land from <a href="/wiki/Aboriginal_Australians" title="Aboriginal Australians">Aboriginal peoples</a><a href="#cite_note-174">[174]</a> and <a href="/wiki/Racism_in_Australia" title="Racism in Australia">racism</a>. Filmmaker <a href="/wiki/Ivan_Sen" title="Ivan Sen">Ivan Sen</a> is known for his exploration of such themes in his <a href="/wiki/Mystery_Road_(TV_series)" title="Mystery Road (TV series)">Mystery Road</a> TV series and <a href="/wiki/Mystery_Road_(film)" title="Mystery Road (film)">film of the same name</a> with its prequel <a href="/wiki/Goldstone_(film)" title="Goldstone (film)">Goldstone</a>,<a href="#cite_note-175">[175]</a> and his more recent award-winning film <a href="/wiki/Limbo_(2023_film)" title="Limbo (2023 film)">Limbo</a> (2023).<a href="#cite_note-176">[176]</a><a href="#cite_note-177">[177]</a> <div class="mw-heading mw-heading2"><h2 id="Parodies">Parodies</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=17" title="Edit section: Parodies">edit</a>]</div> Film noir has been parodied many times in many manners. In 1945, <a href="/wiki/Danny_Kaye" title="Danny Kaye">Danny Kaye</a> starred in what appears to be the first intentional film noir parody, <a href="/wiki/Wonder_Man_(film)" title="Wonder Man (film)">Wonder Man</a>.<a href="#cite_note-SW_parody-178">[178]</a> That same year, <a href="/wiki/Deanna_Durbin" title="Deanna Durbin">Deanna Durbin</a> was the singing lead in the comedic noir <a href="/wiki/Lady_on_a_Train" title="Lady on a Train">Lady on a Train</a>, which makes fun of Woolrich-brand wistful miserablism. <a href="/wiki/Bob_Hope" title="Bob Hope">Bob Hope</a> inaugurated the private-eye noir parody with <a href="/wiki/My_Favorite_Brunette" title="My Favorite Brunette">My Favorite Brunette</a> (1947), playing a baby-photographer who is mistaken for an ironfisted detective.<a href="#cite_note-SW_parody-178">[178]</a> In 1947 as well, <a href="/wiki/The_Bowery_Boys" title="The Bowery Boys">The Bowery Boys</a> appeared in <a href="/wiki/Hard_Boiled_Mahoney" title="Hard Boiled Mahoney">Hard Boiled Mahoney</a>, which had a similar mistaken-identity plot; they spoofed the genre once more in <a href="/wiki/Private_Eyes_(1953_film)" title="Private Eyes (1953 film)">Private Eyes</a> (1953). Two RKO productions starring Robert Mitchum take film noir over the border into self-parody: <a href="/wiki/The_Big_Steal" title="The Big Steal">The Big Steal</a> (1949), directed by <a href="/wiki/Don_Siegel" title="Don Siegel">Don Siegel</a>, and <a href="/wiki/His_Kind_of_Woman" title="His Kind of Woman">His Kind of Woman</a> (1951).<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><a href="#endnote_Bnone">[b]</a> The "Girl Hunt" ballet in <a href="/wiki/Vincente_Minnelli" title="Vincente Minnelli">Vincente Minnelli</a>'s <a href="/wiki/The_Band_Wagon" title="The Band Wagon">The Band Wagon</a> (1953) is a ten-minute distillation of—and play on—noir in dance.<a href="#cite_note-179">[179]</a> <a href="/wiki/The_Cheap_Detective" title="The Cheap Detective">The Cheap Detective</a> (1978), starring <a href="/wiki/Peter_Falk" title="Peter Falk">Peter Falk</a>, is a broad spoof of several films, including the Bogart classics The Maltese Falcon and <a href="/wiki/Casablanca_(film)" title="Casablanca (film)">Casablanca</a>. <a href="/wiki/Carl_Reiner" title="Carl Reiner">Carl Reiner</a>'s black-and-white <a href="/wiki/Dead_Men_Don%27t_Wear_Plaid" title="Dead Men Don't Wear Plaid">Dead Men Don't Wear Plaid</a> (1982) appropriates clips of classic noirs for a farcical <a href="/wiki/Pastiche#Hodge-podge" title="Pastiche">pastiche</a>, while his <a href="/wiki/Fatal_Instinct" title="Fatal Instinct">Fatal Instinct</a> (1993) sends up noir classic (Double Indemnity) and neo-noir (Basic Instinct). <a href="/wiki/Robert_Zemeckis" title="Robert Zemeckis">Robert Zemeckis</a>'s <a href="/wiki/Who_Framed_Roger_Rabbit" title="Who Framed Roger Rabbit">Who Framed Roger Rabbit</a> (1988) develops a noir plot set in 1940s Los Angeles around a host of cartoon characters.<a href="#cite_note-180">[180]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:TaxiDriver1.jpg" class="mw-file-description"><img alt="Head and right hand of a man, shot from a slightly low angle. The man, whose hair is in a Mohawk, looks down at the camera with an odd smile. A spot of blood is on his upper left cheek, and a three-inch line of blood runs from his lower left cheek to his jaw. With his blood-drenched thumb and index finger, he makes the shape of a pistol, pointed at the side of his head." src="//upload.wikimedia.org/wikipedia/commons/5/52/TaxiDriver1.jpg" decoding="async" width="200" height="140" class="mw-file-element" data-file-width="200" data-file-height="140" /></a><figcaption>"Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man." <a href="/wiki/Robert_De_Niro" title="Robert De Niro">Robert De Niro</a> as neo-noir <a href="/wiki/Antihero" title="Antihero">antihero</a> Travis Bickle in <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a> (1976)</figcaption></figure> Noir parodies come in darker tones as well. <a href="/wiki/Murder_by_Contract" title="Murder by Contract">Murder by Contract</a> (1958), directed by <a href="/wiki/Irving_Lerner" title="Irving Lerner">Irving Lerner</a>, is a deadpan joke on noir, with a denouement as bleak as any of the films it kids. An ultra-low-budget <a href="/wiki/Columbia_Pictures" title="Columbia Pictures">Columbia Pictures</a> production, it may qualify as the first intentional example of what is now called a neo-noir film; it was likely a source of inspiration for both Melville's Le Samouraï and Scorsese's <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a>.<a href="#cite_note-181">[181]</a> Belying its parodic strain, <a href="/wiki/The_Long_Goodbye_(film)" title="The Long Goodbye (film)">The Long Goodbye</a>'s final act is seriously grave. Taxi Driver caustically <a href="/wiki/Deconstruction" title="Deconstruction">deconstructs</a> the "dark" crime film, taking it to an absurd extreme and then offering a conclusion that manages to mock every possible anticipated ending—triumphant, tragic, artfully ambivalent—while being each, all at once.<a href="#cite_note-182">[182]</a> Flirting with <a href="/wiki/Splatter_film" title="Splatter film">splatter</a> status even more brazenly, the Coens' <a href="/wiki/Blood_Simple" title="Blood Simple">Blood Simple</a> is both an exacting <a href="/wiki/Genre_parodies" class="mw-redirect" title="Genre parodies">pastiche</a> and a gross exaggeration of classic noir.<a href="#cite_note-183">[183]</a> Adapted by director Robinson Devor from a novel by <a href="/wiki/Charles_Willeford" title="Charles Willeford">Charles Willeford</a>, <a href="/wiki/The_Woman_Chaser" title="The Woman Chaser">The Woman Chaser</a> (1999) sends up not just the noir mode but the entire Hollywood filmmaking process, with each shot seemingly staged as the visual equivalent of an acerbic Marlowe wisecrack.<a href="#cite_note-184">[184]</a> In other media, the television series <a href="/wiki/Sledge_Hammer!" title="Sledge Hammer!">Sledge Hammer!</a> (1986–88) lampoons noir, along with such topics as <a href="/wiki/Capital_punishment" title="Capital punishment">capital punishment</a>, gun <a href="/wiki/Fetishism" title="Fetishism">fetishism</a>, and <a href="/wiki/Harry_Callahan_(character)" class="mw-redirect" title="Harry Callahan (character)">Dirty Harry</a>. <a href="/wiki/Sesame_Street" title="Sesame Street">Sesame Street</a> (1969–curr.) occasionally casts <a href="/wiki/Kermit_the_Frog" title="Kermit the Frog">Kermit the Frog</a> as a private eye; the sketches refer to some of the typical motifs of noir films, in particular the voiceover. <a href="/wiki/Garrison_Keillor" title="Garrison Keillor">Garrison Keillor</a>'s radio program <a href="/wiki/A_Prairie_Home_Companion" title="A Prairie Home Companion">A Prairie Home Companion</a> features the recurring character <a href="/wiki/Guy_Noir" title="Guy Noir">Guy Noir</a>, a hardboiled detective whose adventures always wander into farce (Guy also appears in the <a href="/wiki/A_Prairie_Home_Companion_(film)" title="A Prairie Home Companion (film)">Altman-directed film</a> based on Keillor's show). <a href="/wiki/Firesign_Theatre" class="mw-redirect" title="Firesign Theatre">Firesign Theatre</a>'s Nick Danger has trodden the same not-so-mean streets, both on radio and in comedy albums. Cartoons such as <a href="/wiki/Garfield%27s_Babes_and_Bullets" title="Garfield's Babes and Bullets">Garfield's Babes and Bullets</a> (1989) and <a href="/wiki/Comic_strip" title="Comic strip">comic strip</a> characters such as <a href="/wiki/Calvin%27s_alter_egos_(Calvin_and_Hobbes)#Tracer_Bullet" class="mw-redirect" title="Calvin's alter egos (Calvin and Hobbes)">Tracer Bullet</a> of <a href="/wiki/Calvin_and_Hobbes" title="Calvin and Hobbes">Calvin and Hobbes</a> have parodied both film noir and the kindred hardboiled tradition—one of the sources from which film noir sprang and which it now overshadows.<a href="#cite_note-185">[185]</a> <a href="/wiki/It%27s_Always_Sunny_in_Philadelphia" title="It's Always Sunny in Philadelphia">It's Always Sunny in Philadelphia</a> parodied the noir genre in its <a href="/wiki/It%27s_Always_Sunny_in_Philadelphia_season_14" title="It's Always Sunny in Philadelphia season 14">season 14</a> episode "The Janitor Always Mops Twice."<a href="#cite_note-186">[186]</a><a href="#cite_note-187">[187]</a> <div class="mw-heading mw-heading2"><h2 id="Identifying_characteristics">Identifying characteristics</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=18" title="Edit section: Identifying characteristics">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:VertigoHangTrailer.jpg" class="mw-file-description"><img alt="A man, seen from mid-chest up, hangs by his hands from the edge of an apparently tall structure, gazing down in fear. He is wearing a dark suit and an orange tie with a clip. In the distance behind him is a cityscape at night or in the early morning. There is a bluish cast to the background." src="//upload.wikimedia.org/wikipedia/en/thumb/7/72/VertigoHangTrailer.jpg/250px-VertigoHangTrailer.jpg" decoding="async" width="220" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/7/72/VertigoHangTrailer.jpg 1.5x" data-file-width="250" data-file-height="193" /></a><figcaption>Some consider <a href="/wiki/Vertigo_(film)" title="Vertigo (film)">Vertigo</a> (1958) a noir on the basis of plot and tone and various motifs, but it has a modernist graphic design typical of the 1950s and a more modern set design,<a href="#cite_note-188">[188]</a> which would remove it from the category of film noir. Others say the combination of color and the specificity of director <a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Alfred Hitchcock</a>'s vision exclude it from the category.<a href="#cite_note-189">[189]</a></figcaption></figure> In their original 1955 canon of film noir, Raymond Borde and Etienne Chaumeton identified twenty-two Hollywood films released between 1941 and 1952 as core examples; they listed another fifty-nine American films from the period as significantly related to the field of noir.<a href="#cite_note-190">[190]</a> A half-century later, film historians and critics had come to agree on a canon of approximately three hundred films from 1940 to 1958.<a href="#cite_note-191">[191]</a> There remain, however, many differences of opinion over whether other films of the era, among them a number of well-known ones, qualify as films noir or not. For instance, <a href="/wiki/The_Night_of_the_Hunter_(film)" title="The Night of the Hunter (film)">The Night of the Hunter</a> (1955), starring Robert Mitchum in an acclaimed performance, is treated as a film noir by some critics, but not by others.<a href="#cite_note-192">[192]</a> Some critics include <a href="/wiki/Suspicion_(1941_film)" title="Suspicion (1941 film)">Suspicion</a> (1941), directed by Alfred Hitchcock, in their catalogues of noir; others ignore it.<a href="#cite_note-193">[193]</a> Concerning films made either before or after the classic period, or outside of the United States at any time, consensus is even rarer. To support their categorization of certain films as noirs and their rejection of others, many critics refer to a set of elements they see as marking examples of the mode. The question of what constitutes the set of noir's identifying characteristics is a fundamental source of controversy. For instance, critics tend to define the model film noir as having a tragic or bleak conclusion,<a href="#cite_note-194">[194]</a> but many acknowledged classics of the genre have clearly happy endings (e.g., Stranger on the Third Floor, The Big Sleep, Dark Passage, and The Dark Corner), while the tone of many other noir <a href="/wiki/Denouement" class="mw-redirect" title="Denouement">denouements</a> is ambivalent.<a href="#cite_note-195">[195]</a> Some critics perceive classic noir's hallmark as a distinctive visual style. Others, observing that there is actually considerable stylistic variety among noirs, instead emphasize plot and character type. Still others focus on mood and attitude. No survey of classic noir's identifying characteristics can therefore be considered definitive. In the 1990s and 2000s, critics have increasingly turned their attention to that diverse field of films called neo-noir; once again, there is even less consensus about the defining attributes of such films made outside the classic period.<a href="#cite_note-196">[196]</a> Roger Ebert offered "A Guide to Film Noir", writing that "Film noir is... <ol><li>A French term meaning 'black film', or film of the night, inspired by the Series Noir, a line of cheap paperbacks that translated hard-boiled American crime authors and found a popular audience in France</li> <li>A movie which at no time misleads you into thinking there is going to be a happy ending.</li> <li>Locations that reek of the night, of shadows, of alleys, of the back doors of fancy places, of apartment buildings with a high turnover rate, of taxi drivers and bartenders who have seen it all.</li> <li>Cigarettes. Everyone in film noir is always smoking, as if to say, 'On top of everything else, I've been assigned to get through three packs today. The best smoking movie of all time is <a href="/wiki/Out_of_the_Past" title="Out of the Past">Out of the Past</a>, in which <a href="/wiki/Robert_Mitchum" title="Robert Mitchum">Robert Mitchum</a> and <a href="/wiki/Kirk_Douglas" title="Kirk Douglas">Kirk Douglas</a> smoke furiously at each other. At one point, Mitchum enters a room, Douglas extends a pack and says 'Cigarette?' and Mitchum, holding up his hand, says, 'Smoking.'</li> <li>Women who would just as soon kill you as love you, and vice versa.</li> <li>For women: low necklines, floppy hats, mascara, lipstick, dressing rooms, boudoirs, calling the doorman by his first name, high heels, red dresses, elbowlength gloves, mixing drinks, having gangsters as boyfriends, having soft spots for alcoholic private eyes, wanting a lot of someone else's women, sprawling dead on the floor with every limb meticulously arranged and every hair in place.</li> <li>For men: fedoras, suits and ties, shabby residential hotels with a neon sign blinking through the window, buying yourself a drink out of the office bottle, cars with running boards, all-night diners, protecting kids who shouldn't be playing with the big guys, being on first-name terms with homicide cops, knowing a lot of people whose descriptions end in 'ies,' such as bookies, newsies, junkies, alkys, jockeys and cabbies.</li> <li>Movies either shot in <a href="/wiki/Black-and-white" title="Black-and-white">black-and-white</a>, or feeling like they were.</li> <li>Relationships in which love is only the final flop card in the poker game of death.</li> <li>The most American film genre, because no other society could have created a world so full of doom, fate, fear and betrayal, unless it were essentially naive and optimistic."<a href="#cite_note-197">[197]</a></li></ol> <div class="mw-heading mw-heading3"><h3 id="Visual_style">Visual style</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=19" title="Edit section: Visual style">edit</a>]</div> The <a href="/wiki/Low-key_lighting" title="Low-key lighting">low-key lighting</a> schemes of many classic films noir are associated with stark light/dark <a href="/wiki/Contrast_(vision)" title="Contrast (vision)">contrasts</a> and dramatic shadow patterning—a style known as <a href="/wiki/Chiaroscuro" title="Chiaroscuro">chiaroscuro</a> (a term adopted from Renaissance painting).<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><a href="#endnote_Cnone">[c]</a> The shadows of Venetian blinds or banister rods, cast upon an actor, a wall, or an entire set, are an iconic visual in noir and had already become a <a href="/wiki/Clich%C3%A9" title="Cliché">cliché</a> well before the neo-noir era. Characters' faces may be partially or wholly obscured by darkness—a relative rarity in conventional Hollywood filmmaking. While black-and-white cinematography is considered by many to be one of the essential attributes of classic noir, the color films <a href="/wiki/Leave_Her_to_Heaven" title="Leave Her to Heaven">Leave Her to Heaven</a> (1945) and <a href="/wiki/Niagara_(1953_film)" title="Niagara (1953 film)">Niagara</a> (1953) are routinely included in noir filmographies, while <a href="/wiki/Slightly_Scarlet_(1956_film)" title="Slightly Scarlet (1956 film)">Slightly Scarlet</a> (1956), <a href="/wiki/Party_Girl_(1958_film)" title="Party Girl (1958 film)">Party Girl</a> (1958), and <a href="/wiki/Vertigo_(film)" title="Vertigo (film)">Vertigo</a> (1958) are classified as noir by varying numbers of critics.<a href="#cite_note-198">[198]</a> Film noir is also known for its use of <a href="/wiki/Low-angle_shot" title="Low-angle shot">low-angle</a>, <a href="/wiki/Wide-angle_lens" title="Wide-angle lens">wide-angle</a>, and <a href="/wiki/Dutch_angle" title="Dutch angle">skewed, or Dutch angle</a> shots. Other devices of disorientation relatively common in film noir include shots of people reflected in one or more mirrors, shots through curved or frosted glass or other distorting objects (such as during the strangulation scene in Strangers on a Train), and special effects sequences of a sometimes bizarre nature. <a href="/wiki/Night-for-night" title="Night-for-night">Night-for-night</a> shooting, as opposed to the Hollywood norm of <a href="/wiki/Day-for-night" class="mw-redirect" title="Day-for-night">day-for-night</a>, was often employed.<a href="#cite_note-199">[199]</a> From the mid-1940s forward, <a href="/wiki/Location_shooting" title="Location shooting">location shooting</a> became increasingly frequent in noir.<a href="#cite_note-200">[200]</a> In an analysis of the visual approach of <a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a>, a late and self-consciously stylized example of classic noir, critic Alain Silver describes how cinematographic choices emphasize the story's themes and mood. In one scene, the characters, seen through a "confusion of angular shapes", thus appear "caught in a tangible vortex or enclosed in a trap." Silver makes a case for how "side light is used ... to reflect character ambivalence", while shots of characters in which they are lit from below "conform to a convention of visual expression which associates shadows cast upward of the face with the unnatural and ominous".<a href="#cite_note-201">[201]</a> <div class="mw-heading mw-heading3"><h3 id="Structure_and_narrational_devices">Structure and narrational devices</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=20" title="Edit section: Structure and narrational devices">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:SorryWrongNumber2.jpg" class="mw-file-description"><img alt="A man and a woman, seen in profile, starring intensely at each other. The man, on the left, is considerably taller. He wears a brown pin-striped suit, holds a key in one hand and grips the woman's arm with the other. She is wearing a pale green top. Lit from below and to the side, they cast bold, angled shadows on the wall behind them." src="//upload.wikimedia.org/wikipedia/commons/thumb/4/44/SorryWrongNumber2.jpg/220px-SorryWrongNumber2.jpg" decoding="async" width="220" height="174" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/44/SorryWrongNumber2.jpg/330px-SorryWrongNumber2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/44/SorryWrongNumber2.jpg/440px-SorryWrongNumber2.jpg 2x" data-file-width="1130" data-file-height="895" /></a><figcaption><a href="/wiki/Barbara_Stanwyck" title="Barbara Stanwyck">Barbara Stanwyck</a> and <a href="/wiki/Burt_Lancaster" title="Burt Lancaster">Burt Lancaster</a> were two of the most prolific stars of classic noir. The complex structure of <a href="/wiki/Sorry,_Wrong_Number" title="Sorry, Wrong Number">Sorry, Wrong Number</a> (1948) involves a real-time framing story, <a href="/wiki/Multiperspectivity" title="Multiperspectivity">multiple narrators</a>, and flashbacks within flashbacks.<a href="#cite_note-202">[202]</a></figcaption></figure> Films noir tend to have unusually convoluted story lines, frequently involving <a href="/wiki/Flashback_(literary_technique)" class="mw-redirect" title="Flashback (literary technique)">flashbacks</a> and other editing techniques that disrupt and sometimes obscure the <a href="/wiki/Narrative" title="Narrative">narrative</a> sequence. Framing the entire primary narrative as a flashback is also a standard device. Voiceover narration, sometimes used as a structuring device, came to be seen as a noir hallmark; while classic noir is generally associated with first-person narration (i.e., by the protagonist), Stephen Neale notes that third-person narration is common among noirs of the semidocumentary style.<a href="#cite_note-203">[203]</a> Neo-noirs as varied as The Element of Crime (surrealist), After Dark, My Sweet (retro), and Kiss Kiss Bang Bang (meta) have employed the flashback/voiceover combination. Bold experiments in cinematic storytelling were sometimes attempted during the classic era: Lady in the Lake, for example, is shot entirely from the <a href="/wiki/Point_of_view_shot" class="mw-redirect" title="Point of view shot">point of view</a> of protagonist Philip Marlowe; the face of star (and director) <a href="/wiki/Robert_Montgomery_(actor)" title="Robert Montgomery (actor)">Robert Montgomery</a> is seen only in mirrors.<a href="#cite_note-204">[204]</a> <a href="/wiki/The_Chase_(1946_film)" title="The Chase (1946 film)">The Chase</a> (1946) takes <a href="/wiki/Oneiric_(film_theory)" title="Oneiric (film theory)">oneirism</a> and fatalism as the basis for its fantastical narrative system, redolent of certain horror stories, but with little precedent in the context of a putatively realistic genre. In their different ways, both Sunset Boulevard and D.O.A. are tales told by dead men. Latter-day noir has been in the forefront of structural experimentation in popular cinema, as exemplified by such films as Pulp Fiction, Fight Club, and Memento.<a href="#cite_note-205">[205]</a> <div class="mw-heading mw-heading3"><h3 id="Plots,_characters,_and_settings">Plots, characters, and settings</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=21" title="Edit section: Plots, characters, and settings">edit</a>]</div> Crime, usually murder, is an element of almost all films noir; in addition to standard-issue greed, jealousy is frequently the criminal motivation. A crime investigation—by a private eye, a police detective (sometimes acting alone), or a concerned amateur—is the most prevalent, but far from dominant, basic plot. In other common plots the protagonists are implicated in <a href="/wiki/Heist_film" title="Heist film">heists</a> or <a href="/wiki/Confidence_trick" class="mw-redirect" title="Confidence trick">con games</a>, or in murderous conspiracies often involving adulterous affairs. False suspicions and accusations of crime are frequent plot elements, as are betrayals and double-crosses. According to J. David Slocum, "protagonists assume the literal identities of dead men in nearly fifteen percent of all noir."<a href="#cite_note-206">[206]</a> <a href="/wiki/Amnesia" title="Amnesia">Amnesia</a> is fairly epidemic—"noir's version of the common cold", in the words of film historian <a href="/wiki/Lee_Server" title="Lee Server">Lee Server</a>.<a href="#cite_note-207">[207]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:PursuedPoster.jpg" class="mw-file-description"><img alt="Black-and-white film poster with an image of a young man and woman holding each other. They are surrounded by an abstract, whirlpool-like image; the central arc of the thick black line that define it encircles their head. Both are wearing white shirts and look forward with tense expressions; his right arm cradles her back, and in his hand he holds a revolver. The stars' names—Teresa Wright and Robert Mitchum—feature at the top of the whirlpool; the title and remainder of the credits are below." src="//upload.wikimedia.org/wikipedia/en/thumb/1/10/PursuedPoster.jpg/250px-PursuedPoster.jpg" decoding="async" width="220" height="229" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/1/10/PursuedPoster.jpg 1.5x" data-file-width="326" data-file-height="340" /></a><figcaption>By the late 1940s, the noir trend was leaving its mark on other genres. A prime example is the Western <a href="/wiki/Pursued" title="Pursued">Pursued</a> (1947), filled with psychosexual tensions and behavioral explanations derived from <a href="/wiki/Psychoanalysis" title="Psychoanalysis">Freudian theory</a>.<a href="#cite_note-208">[208]</a></figcaption></figure> Films noir tend to revolve around heroes who are more flawed and morally questionable than the norm, often <a href="/wiki/Fall_guy" title="Fall guy">fall guys</a> of one sort or another. The characteristic protagonists of noir are described by many critics as "<a href="/wiki/Social_alienation" title="Social alienation">alienated</a>";<a href="#cite_note-209">[209]</a> in the words of Silver and Ward, "filled with <a href="/wiki/Existentialism" title="Existentialism">existential</a> bitterness".<a href="#cite_note-210">[210]</a> Certain archetypal characters appear in many film noirs—hardboiled detectives, femme fatales, corrupt policemen, jealous husbands, intrepid <a href="/wiki/Claims_adjuster" class="mw-redirect" title="Claims adjuster">claims adjusters</a>, and down-and-out writers. Among characters of every stripe, cigarette smoking is rampant.<a href="#cite_note-211">[211]</a> From historical commentators to neo-noir pictures to pop culture ephemera, the private eye and the femme fatale have been adopted as the quintessential film noir figures, though they do not appear in most films now regarded as classic noir. Of the twenty-six National Film Registry noirs, in only four does the star play a private eye: The Maltese Falcon, The Big Sleep, Out of the Past, and Kiss Me Deadly. Just four others readily qualify as detective stories: Laura, The Killers, The Naked City, and Touch of Evil. There is usually an element of drug or alcohol use, particularly as part of the detective's method to solving the crime, as an example the character of Mike Hammer in the 1955 film <a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a> who walks into a bar saying "Give me a double bourbon, and leave the bottle". Chaumeton and Borde have argued that film noir grew out of the "literature of drugs and alcohol".<a href="#cite_note-212">[212]</a> Film noir is often associated with an urban setting, and a few cities—Los Angeles, San Francisco, New York, and Chicago, in particular—are the location of many of the classic films. In the eyes of many critics, the city is presented in noir as a "labyrinth" or "maze".<a href="#cite_note-213">[213]</a> Bars, lounges, nightclubs, and gambling dens are frequently the scene of action. The climaxes of a substantial number of film noirs take place in visually complex, often industrial settings, such as refineries, factories, trainyards, power plants—most famously the explosive conclusion of White Heat, set at a chemical plant.<a href="#cite_note-214">[214]</a> In the popular (and, frequently enough, critical) imagination, in noir it is always night and it always raining.<a href="#cite_note-215">[215]</a> A substantial trend within latter-day noir—dubbed "film soleil" by critic <a href="/wiki/D._K._Holm" title="D. K. Holm">D. K. Holm</a>—heads in precisely the opposite direction, with tales of deception, seduction, and corruption exploiting bright, sun-baked settings, stereotypically the desert or open water, to searing effect. Significant predecessors from the classic and early post-classic eras include The Lady from Shanghai; the <a href="/wiki/Robert_Ryan" title="Robert Ryan">Robert Ryan</a> vehicle <a href="/wiki/Inferno_(1953_film)" title="Inferno (1953 film)">Inferno</a> (1953); the French adaptation of <a href="/wiki/Patricia_Highsmith" title="Patricia Highsmith">Patricia Highsmith</a>'s <a href="/wiki/The_Talented_Mr._Ripley" title="The Talented Mr. Ripley">The Talented Mr. Ripley</a>, <a href="/wiki/Plein_Soleil" class="mw-redirect" title="Plein Soleil">Plein soleil</a> (Purple Noon in the United States, more accurately rendered elsewhere as Blazing Sun or Full Sun; 1960); and director Don Siegel's version of <a href="/wiki/The_Killers_(1964_film)" title="The Killers (1964 film)">The Killers</a> (1964). The tendency was at its peak during the late 1980s and 1990s, with films such as <a href="/wiki/Dead_Calm_(film)" title="Dead Calm (film)">Dead Calm</a> (1989), <a href="/wiki/After_Dark,_My_Sweet" title="After Dark, My Sweet">After Dark, My Sweet</a> (1990), <a href="/wiki/The_Hot_Spot" title="The Hot Spot">The Hot Spot</a> (1990), <a href="/wiki/Delusion_(1991_film)" title="Delusion (1991 film)">Delusion</a> (1991), <a href="/wiki/Red_Rock_West" title="Red Rock West">Red Rock West</a> (1993) and the television series <a href="/wiki/Miami_Vice" title="Miami Vice">Miami Vice</a>.<a href="#cite_note-216">[216]</a> <div class="mw-heading mw-heading3"><h3 id="Worldview,_morality,_and_tone">Worldview, morality, and tone</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=22" title="Edit section: Worldview, morality, and tone">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:BigClinch.jpg" class="mw-file-description"><img alt="Black-and-white image of a man and a woman, seen from mid-chest up, their faces in profile, gazing into each other's eyes. He embraces her in a dip with his right arm and holds her right hand to his chest with his left hand. He wears a pin-striped suit and a dark tie. She wears a white top. On the left, the background is black; on the right, it is lighter, with a series of diagonal shadows descending from the upper corner." src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/BigClinch.jpg/220px-BigClinch.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/BigClinch.jpg/330px-BigClinch.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/d/d7/BigClinch.jpg 2x" data-file-width="360" data-file-height="240" /></a><figcaption>"You've got a touch of class, but I don't know how far you can go." "A lot depends on who's in the saddle." <a href="/wiki/Humphrey_Bogart" title="Humphrey Bogart">Bogart</a> and <a href="/wiki/Lauren_Bacall" title="Lauren Bacall">Bacall</a> in <a href="/wiki/The_Big_Sleep_(1946_film)" title="The Big Sleep (1946 film)">The Big Sleep</a>.</figcaption></figure> Film noir is often described as essentially pessimistic.<a href="#cite_note-217">[217]</a> The noir stories that are regarded as most characteristic tell of people trapped in unwanted situations (which, in general, they did not cause but are responsible for exacerbating), striving against random, uncaring fate, and are frequently doomed. The films are seen as depicting a world that is inherently corrupt.<a href="#cite_note-218">[218]</a> Classic film noir has been associated by many critics with the American social landscape of the era—in particular, with a sense of heightened anxiety and alienation that is said to have followed World War II. In author <a href="/wiki/Nicholas_Christopher_(writer)" title="Nicholas Christopher (writer)">Nicholas Christopher</a>'s opinion, "it is as if the war, and the social eruptions in its aftermath, unleashed demons that had been bottled up in the national psyche."<a href="#cite_note-219">[219]</a> Films noir, especially those of the 1950s and the height of the <a href="/wiki/Red_Scare" title="Red Scare">Red Scare</a>, are often said to reflect cultural paranoia; <a href="/wiki/Kiss_Me_Deadly" title="Kiss Me Deadly">Kiss Me Deadly</a> is the noir most frequently marshaled as evidence for this claim.<a href="#cite_note-220">[220]</a> Film noir is often said to be defined by "moral ambiguity",<a href="#cite_note-221">[221]</a> yet the <a href="/wiki/Motion_Picture_Production_Code" class="mw-redirect" title="Motion Picture Production Code">Production Code</a> obliged almost all classic noirs to see that steadfast virtue was ultimately rewarded and vice, in the absence of shame and redemption, severely punished (however dramatically incredible the final rendering of mandatory justice might be). A substantial number of latter-day noirs flout such conventions: vice emerges triumphant in films as varied as the grim Chinatown and the ribald Hot Spot.<a href="#cite_note-222">[222]</a> The tone of film noir is generally regarded as downbeat; some critics experience it as darker still—"overwhelmingly black", according to Robert Ottoson.<a href="#cite_note-223">[223]</a> Influential critic (and filmmaker) Paul Schrader wrote in a seminal 1972 essay that "film noir is defined by tone", a tone he seems to perceive as "hopeless".<a href="#cite_note-224">[224]</a> In describing the adaptation of Double Indemnity, noir analyst Foster Hirsch describes the "requisite hopeless tone" achieved by the filmmakers, which appears to characterize his view of noir as a whole.<a href="#cite_note-225">[225]</a> On the other hand, definitive film noirs such as The Big Sleep, The Lady from Shanghai, Scarlet Street and Double Indemnity itself are famed for their hardboiled repartee, often imbued with sexual innuendo and self-reflexive humor.<a href="#cite_note-226">[226]</a> <div class="mw-heading mw-heading3"><h3 id="Music">Music</h3>[<a href="/w/index.php?title=Film_noir&action=edit&section=23" title="Edit section: Music">edit</a>]</div> The music of film noir was typically orchestral, per the Hollywood norm, but often with added dissonance.<a href="#cite_note-227">[227]</a> Many of the prime composers, like the directors and cameramen, were European émigrés, e.g., <a href="/wiki/Max_Steiner" title="Max Steiner">Max Steiner</a> (<a href="/wiki/The_Big_Sleep_(1946_film)" title="The Big Sleep (1946 film)">The Big Sleep</a>, Mildred Pierce), <a href="/wiki/Mikl%C3%B3s_R%C3%B3zsa" title="Miklós Rózsa">Miklós Rózsa</a> (<a href="/wiki/Double_Indemnity" title="Double Indemnity">Double Indemnity</a>, <a href="/wiki/The_Killers_(1946_film)" title="The Killers (1946 film)">The Killers</a>, <a href="/wiki/Criss_Cross_(film)" title="Criss Cross (film)">Criss Cross</a>), and <a href="/wiki/Franz_Waxman" title="Franz Waxman">Franz Waxman</a> (<a href="/wiki/Fury_(1936_film)" title="Fury (1936 film)">Fury</a>, <a href="/wiki/Sunset_Boulevard_(film)" title="Sunset Boulevard (film)">Sunset Boulevard</a>, <a href="/wiki/Night_and_the_City" title="Night and the City">Night and the City</a>). Double Indemnity is a seminal score, initially disliked by Paramount's music director for its harshness but strongly endorsed by director Billy Wilder and studio chief <a href="/wiki/Buddy_DeSylva" title="Buddy DeSylva">Buddy DeSylva</a>.<a href="#cite_note-228">[228]</a> There is a widespread popular impression that "sleazy" jazz saxophone and pizzicato bass constitute the sound of noir, but those characteristics arose much later, as in the late-1950s music of <a href="/wiki/Henry_Mancini" title="Henry Mancini">Henry Mancini</a> for <a href="/wiki/Touch_of_Evil" title="Touch of Evil">Touch of Evil</a> and television's <a href="/wiki/Peter_Gunn" title="Peter Gunn">Peter Gunn</a>. <a href="/wiki/Bernard_Herrmann" title="Bernard Herrmann">Bernard Herrmann</a>'s score for <a href="/wiki/Taxi_Driver" title="Taxi Driver">Taxi Driver</a> makes heavy use of saxophone.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=24" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/Film_gris" title="Film gris">Film gris</a>-a term coined by experimental filmmaker <a href="/wiki/Thom_Andersen" title="Thom Andersen">Thom Andersen</a></li> <li><a href="/wiki/Scandinavian_noir" class="mw-redirect" title="Scandinavian noir">Scandinavian noir</a></li> <li><a href="/wiki/List_of_film_noir_titles" title="List of film noir titles">List of film noir titles</a></li> <li><a href="/wiki/List_of_neo-noir_titles" class="mw-redirect" title="List of neo-noir titles">List of neo-noir titles</a></li> <li><a href="/wiki/B_movie" title="B movie">B movie</a></li> <li><a href="/wiki/Modernist_film" title="Modernist film">Modernist film</a></li> <li><a href="/wiki/Postmodern_film" class="mw-redirect" title="Postmodern film">Postmodern film</a></li> <li><a href="/wiki/Minimalist_film" title="Minimalist film">Minimalist film</a></li> <li><a href="/wiki/Maximalist_film" title="Maximalist film">Maximalist film</a></li> <li><a href="/wiki/Neo-noir" title="Neo-noir">Neo-noir</a></li> <li><a href="/wiki/Noirvember" title="Noirvember">Noirvember</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=25" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ol type="a"> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><a href="#ref_Anone">^</a> The plural forms of film noir in English include films noirs (<a href="/wiki/English_plurals#French_compounds" title="English plurals">derived from the French</a>), films noir, and film noirs. <a href="/wiki/Merriam-Webster" title="Merriam-Webster">Merriam-Webster</a>, which acknowledges all three styles as acceptable, favors film noirs,<a href="#cite_note-plurals-229">[229]</a> while the <a href="/wiki/Oxford_English_Dictionary" title="Oxford English Dictionary">Oxford English Dictionary</a> lists only films noirs.<a href="#cite_note-230">[230]</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><a href="#ref_Bnone">^</a> His Kind of Woman was originally directed by John Farrow, then largely reshot under Richard Fleischer after studio owner <a href="/wiki/Howard_Hughes" title="Howard Hughes">Howard Hughes</a> demanded rewrites. Only Farrow was credited.<a href="#cite_note-231">[231]</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><a href="#ref_Cnone">^</a> In Academic Dictionary of Arts (2005), Rakesh Chopra notes that the high-contrast film lighting schemes commonly referred to as "chiaroscuro" are more specifically representative of <a href="/wiki/Tenebrism" title="Tenebrism">tenebrism</a>, whose first great exponent was the Italian painter <a href="/wiki/Caravaggio" title="Caravaggio">Caravaggio</a> (p. 73). See also Ballinger and Graydon (2007), p. 16.</li> </ol> </div> <div class="mw-heading mw-heading2"><h2 id="Citations">Citations</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=26" title="Edit section: Citations">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.learner.org/series/american-cinema/film-noir/">"Film Noir"</a>. American Cinema. Annenberg Learner. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210418071813/https://www.learner.org/series/american-cinema/film-noir/">Archived</a> from the original on April 18, 2021. Retrieved April 18, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=American+Cinema&rft.atitle=Film+Noir&rft_id=https%3A%2F%2Fwww.learner.org%2Fseries%2Famerican-cinema%2Ffilm-noir%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> See, e.g., Biesen (2005), p. 1; Hirsch (2001), p. 9; Lyons (2001), p. 2; Silver and Ward (1992), p. 1; Schatz (1981), p. 112. Outside the field of film noir scholarship, "dark film" is also offered on occasion; see, e.g., Block, Bruce A., The Visual Story: Seeing the Structure of Film, TV, and New Media (2001), p. 94; Klarer, Mario, An Introduction to Literary Studies (1999), p. 59. </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> Naremore (2008), pp. 4, 15–16, 18, 41; Ballinger and Graydon (2007), pp. 4–5, 22, 255. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFFoteini_Vlachou2016" class="citation web cs1">Foteini Vlachou, Nandia (September 6, 2016). <a rel="nofollow" class="external text" href="https://iknowwhereimgoing.wordpress.com/2016/09/06/parody-and-the-noir/">"Parody and the noir"</a>. I Know Where I'm Going. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20201127201850/https://iknowwhereimgoing.wordpress.com/2016/09/06/parody-and-the-noir/">Archived</a> from the original on November 27, 2020. Retrieved November 19, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=I+Know+Where+I%27m+Going&rft.atitle=Parody+and+the+noir&rft.date=2016-09-06&rft.aulast=Foteini+Vlachou&rft.aufirst=Nandia&rft_id=https%3A%2F%2Fiknowwhereimgoing.wordpress.com%2F2016%2F09%2F06%2Fparody-and-the-noir%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> Ballinger and Graydon (2007), p. 3. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> Borde and Chaumeton (2002), p. 2. </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> Borde and Chaumeton (2002), pp. 2–3. </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> Bould (2005), p. 13. </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> See, e.g., Ballinger and Graydon (2007), p. 4; Bould (2005), p. 12; Place and Peterson (1974). </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> See, e.g., Naremore (2008), p. 167–68; Irwin (2006), p. 210. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Neale (2000), p. 166; Vernet (1993), p. 2; Naremore (2008), pp. 17, 122, 124, 140; Bould (2005), p. 19. </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFChristopher1997" class="citation book cs1">Christopher, Nicholas (1997). Somewhere in the Night: Film Noir and the American City. New York, NY: <a href="/wiki/Free_Press_(publisher)" title="Free Press (publisher)">Free Press</a>. p. 7. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-684-82803-0" title="Special:BookSources/0-684-82803-0"><bdi>0-684-82803-0</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/36330881">36330881</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Somewhere+in+the+Night%3A+Film+Noir+and+the+American+City&rft.place=New+York%2C+NY&rft.pages=7&rft.pub=Free+Press&rft.date=1997&rft_id=info%3Aoclcnum%2F36330881&rft.isbn=0-684-82803-0&rft.aulast=Christopher&rft.aufirst=Nicholas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> For overview of debate, see, e.g., Bould (2005), pp. 13–23; Telotte (1989), pp. 9–10. For description of noir as a genre, see, e.g., Bould (2005), p. 2; Hirsch (2001), pp. 71–72; Tuska (1984), p. xxiii. For the opposing viewpoint, see, e.g., Neale (2000), p. 164; Ottoson (1981), p. 2; Schrader (1972); Durgnat (1970). </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFConrad2006" class="citation book cs1">Conrad, Mark T. (2006). The Philosophy of Film Noir. University Press of Kentucky.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Philosophy+of+Film+Noir&rft.pub=University+Press+of+Kentucky&rft.date=2006&rft.aulast=Conrad&rft.aufirst=Mark+T.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> Ottoson (1981), pp. 2–3. </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> See Dancyger and Rush (2002), p. 68, for a detailed comparison of screwball comedy and film noir. </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Schatz (1981), pp. 111–15. </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Silver (1996), pp. 4, 6 passim. See also Bould (2005), pp. 3, 4; Hirsch (2001), p. 11. </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> Silver (1996), pp. 3, 6 passim. See also Place and Peterson (1974). </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> Silver (1996), pp. 7–10. </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWilliams2017" class="citation book cs1">Williams, Eric R. (2017). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/993983488">The screenwriters taxonomy : a roadmap to collaborative storytelling</a>. New York, NY: Routledge Studies in Media Theory and Practice. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-315-10864-3" title="Special:BookSources/978-1-315-10864-3"><bdi>978-1-315-10864-3</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/993983488">993983488</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200615120622/https://www.worldcat.org/oclc/993983488">Archived</a> from the original on June 15, 2020. Retrieved June 7, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+screenwriters+taxonomy+%3A+a+roadmap+to+collaborative+storytelling&rft.place=New+York%2C+NY&rft.pub=Routledge+Studies+in+Media+Theory+and+Practice&rft.date=2017&rft_id=info%3Aoclcnum%2F993983488&rft.isbn=978-1-315-10864-3&rft.aulast=Williams&rft.aufirst=Eric+R.&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F993983488&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> See, e.g., Jones (2009). </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> See, e.g., Borde and Chaumeton (2002), pp. 1–7 passim. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> See, e.g., Telotte (1989), pp. 10–11, 15 passim. </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> For survey of the lexical variety, see Naremore (2008), pp. 9, 311–12 n. 1. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Bould (2005), pp. 24–33. </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Ballinger and Graydon (2007), pp. 9–11. </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Vernet (1993), p. 15. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Ballinger and Graydon (2007), pp. 11–13. </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Davis (2004), p. 194. See also Ballinger and Graydon (2007), p. 133; Ottoson (1981), pp. 110–111. Vernet (1993) notes that the techniques now associated with Expressionism were evident in the American cinema from the mid-1910s (pp. 9–12). </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Ballinger and Graydon (2007), p. 6. </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> Ballinger and Graydon (2007), pp. 6–9; Silver and Ward (1992), pp. 323–24. </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> Spicer (2007), pp. 26, 28; Ballinger and Graydon (2007), pp. 13–15; Bould (2005), pp. 33–40. </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> McGarry (1980), p. 139. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Ballinger and Graydon (2007), p. 20; Schatz (1981), pp. 116–22; Ottoson (1981), p. 2. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> Biesen (2005), p. 207. </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> Naremore (2008), pp. 13–14. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Krutnik, Neale, and Neve (2008), pp. 147–148; Macek and Silver (1980), p. 135. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> Widdicombe (2001), pp. 37–39, 59–60, 118–19; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFDoherty,_Jim" class="citation web cs1">Doherty, Jim. <a rel="nofollow" class="external text" href="http://www.thrillingdetective.com/carmady.html">"Carmady"</a>. Thrilling Detective Web Site. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100104102528/http://thrillingdetective.com/carmady.html">Archived</a> from the original on January 4, 2010. Retrieved February 25, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Carmady&rft.pub=Thrilling+Detective+Web+Site&rft.au=Doherty%2C+Jim&rft_id=http%3A%2F%2Fwww.thrillingdetective.com%2Fcarmady.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> See, e.g., Ballinger and Graydon (2007), p. 6; Macek (1980), pp. 59–60. </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> Irwin (2006), pp. 71, 95–96. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> Irwin (2006), pp. 123–24, 129–30. </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> White (1980), p. 17. </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Irwin (2006), pp. 97–98, 188–89. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> Silver and Ward (1992), p. 333, as well as entries on individual films, pp. 59–60, 109–10, 320–21. For description of City Streets as "proto-noir", see Turan (2008). For description of Fury as "proto-noir", see Machura, Stefan, and Peter Robson, Law and Film (2001), p. 13. For description of You Only Live Once as "pre-noir", see Ballinger and Graydon (2007), p. 9. </li> <li id="cite_note-3d-46">^ <a href="#cite_ref-3d_46-0">a</a> <a href="#cite_ref-3d_46-1">b</a> See, e.g., Ballinger and Graydon (2007), p. 19; Irwin (2006), p. 210; Lyons (2000), p. 36; Porfirio (1980), p. 269. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Biesen (2005), p. 33. </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Variety (1940). </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> Marshman (1947), pp. 100–1. </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> Ballinger and Graydon (2007), p. 4, 19–26, 28–33; Hirsch (2001), pp. 1–21; Schatz (1981), pp. 111–16. </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> See, e.g., Naremore (2008), pp. 81, 319 n. 13; Ballinger and Graydon (2007), pp. 86–88. </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> See, e.g., Ballinger and Graydon (2007), p. 30; Hirsch (2001), pp. 12, 202; Schrader (1972), pp. 59–61 [in Silver and Ursini]. </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> Schrader (1972), p. 61. </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> See, e.g., Silver (1996), p. 11; Ottoson (1981), pp. 182–183; Schrader (1972), p. 61. </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> See, e.g., Ballinger and Graydon (2007), pp. 19–53. </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> See, e.g., Hirsch (2001), pp. 10, 202–7; Silver and Ward (1992), p. 6 (though they phrase their position more ambiguously on p. 398); Ottoson (1981), p. 1. </li> <li id="cite_note-57"><a href="#cite_ref-57">^</a> See, e.g., entries on individual films in Ballinger and Graydon (2007), pp. 34, 190–92; Silver and Ward (1992), pp. 214–15; 253–54, 269–70, 318–19. </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> Biesen (2005), p. 162. </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> Ballinger and Graydon (2007), pp. 188, 202–3. </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> For overview of Welles's noirs, see, e.g., Ballinger and Graydon (2007), pp. 210–11. For specific production circumstances, see Brady, Frank, Citizen Welles: A Biography of Orson Welles (1989), pp. 395–404, 378–81, 496–512. </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> Bernstein (1995). </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> McGilligan (1997), pp. 314–17. </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Schatz (1998), pp. 354–58. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> See, e.g., Schatz (1981), pp. 103, 112. </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> See, e.g., entries on individual films in Silver and Ward (1992), pp. 97–98, 125–26, 311–12. </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> See Naremore (2008), pp. 140–55, on "B Pictures versus Intermediates". </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> Ottoson (1981), p. 132. </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Naremore (2008), p. 173. </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> Hayde (2001), pp. 3–4, 15–21, 37. </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> Erickson (2004), p. 26. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Sarris (1985), p. 93. </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Thomson (1998), p. 269. </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Naremore (2008), pp. 128, 150–51; Ballinger and Graydon (2007), pp. 97–99. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Ballinger and Graydon (2007), pp. 59–60. </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> Clarens (1980), pp. 245–47. </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> See, e.g., Ballinger and Graydon (2007), pp. 83–85; Ottoson (1981), pp. 60–61. </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> Muller (1998), pp. 176–77. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Krutnik, Neale, and Neve (2008), pp. 259–60, 262–63. </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> See Mackendrick (2006), pp. 119–20. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> See, e.g., Silver and Ward (1992), pp. 338–39. Ottoson (1981) also lists two period pieces directed by Siodmak (<a href="/wiki/The_Suspect_(1944_film)" title="The Suspect (1944 film)">The Suspect</a> [1944] and <a href="/wiki/The_Spiral_Staircase_(1946_film)" title="The Spiral Staircase (1946 film)">The Spiral Staircase</a> [1946]) (pp. 173–74, 164–65). Silver and Ward list nine classic-era film noirs by Lang, plus two from the 1930s (pp. 338, 396). Ottoson lists eight (excluding <a href="/wiki/Beyond_a_Reasonable_Doubt_(1956_film)" title="Beyond a Reasonable Doubt (1956 film)">Beyond a Reasonable Doubt</a> [1956]), plus the same two from the 1930s (passim). Silver and Ward list seven by Mann (p. 338). Ottoson also lists <a href="/wiki/Reign_of_Terror_(film)" title="Reign of Terror (film)">Reign of Terror</a> (a.k.a. The Black Book; 1949), set during the French Revolution, for a total of eight (passim). See also Ballinger and Graydon (2007), p. 241. </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> Clarens (1980), pp. 200–2; Walker (1992), pp. 139–45; Ballinger and Graydon (2007), pp. 77–79. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> Butler (2002), p. 12. </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> Silver and Ward (1992), p. 1. </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> See Palmer (2004), pp. 267–68, for a representative discussion of film noir as an international phenomenon. </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> Spicer (2007), pp. 5–6, 26, 28, 59; Ballinger and Graydon (2007), pp. 14–15. </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJones2015" class="citation news cs1">Jones, Kristin (July 21, 2015). <a rel="nofollow" class="external text" href="https://www.wsj.com/articles/a-series-on-mexican-noir-films-illuminates-a-dark-genre-1437513037">"A Series on Mexican Noir Films Illuminates a Dark Genre"</a>. The Wall Street Journal. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180426012214/https://www.wsj.com/articles/a-series-on-mexican-noir-films-illuminates-a-dark-genre-1437513037">Archived</a> from the original on April 26, 2018. Retrieved April 30, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wall+Street+Journal&rft.atitle=A+Series+on+Mexican+Noir+Films+Illuminates+a+Dark+Genre&rft.date=2015-07-21&rft.aulast=Jones&rft.aufirst=Kristin&rft_id=https%3A%2F%2Fwww.wsj.com%2Farticles%2Fa-series-on-mexican-noir-films-illuminates-a-dark-genre-1437513037&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> Spicer (2007), pp. 32–39, 43; Ballinger and Graydon (2007), pp. 255–61. </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGaedtke2009" class="citation journal cs1">Gaedtke, Andrew (December 2009). <a rel="nofollow" class="external text" href="https://dx.doi.org/10.2979/jml.2009.33.1.164">"The Politics and Aesthetics of Disability: A Review of Michael Davidson's Concerto for the Left Hand: Disability and the Defamiliar Body"</a>. Journal of Modern Literature. 33 (1): 164–170. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2979%2Fjml.2009.33.1.164">10.2979/jml.2009.33.1.164</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0022-281X">0022-281X</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:146184141">146184141</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Modern+Literature&rft.atitle=The+Politics+and+Aesthetics+of+Disability%3A+A+Review+of+Michael+Davidson%27s+Concerto+for+the+Left+Hand%3A+Disability+and+the+Defamiliar+Body&rft.volume=33&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E164-%3C%2Fspan%3E170&rft.date=2009-12&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A146184141%23id-name%3DS2CID&rft.issn=0022-281X&rft_id=info%3Adoi%2F10.2979%2Fjml.2009.33.1.164&rft.aulast=Gaedtke&rft.aufirst=Andrew&rft_id=http%3A%2F%2Fdx.doi.org%2F10.2979%2Fjml.2009.33.1.164&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFFessas2020" class="citation journal cs1">Fessas, Nikitas (August 1, 2020). <a rel="nofollow" class="external text" href="http://www.liverpooluniversitypress.co.uk/journals/article/57763">"Representations of Disability in 1960s Greek Film Noirs"</a>. Journal of Literary & Cultural Disability Studies. 14 (3): 281–300. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.3828%2Fjlcds.2020.18">10.3828/jlcds.2020.18</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1757-6466">1757-6466</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:225451304">225451304</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220120041539/https://liverpooluniversitypress.co.uk/journals/article/57763/">Archived</a> from the original on January 20, 2022. Retrieved June 6, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Literary+%26+Cultural+Disability+Studies&rft.atitle=Representations+of+Disability+in+1960s+Greek+Film+Noirs&rft.volume=14&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E281-%3C%2Fspan%3E300&rft.date=2020-08-01&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A225451304%23id-name%3DS2CID&rft.issn=1757-6466&rft_id=info%3Adoi%2F10.3828%2Fjlcds.2020.18&rft.aulast=Fessas&rft.aufirst=Nikitas&rft_id=http%3A%2F%2Fwww.liverpooluniversitypress.co.uk%2Fjournals%2Farticle%2F57763&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> Spicer (2007), p. 9. </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> Spicer (2007), pp. 16, 91–94, 96, 100; Ballinger and Graydon (2007), pp. 144, 249–55; Lyons (2000), p. 74, 81, 114–15. </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> Spicer (2007), pp. 13, 28, 241; Ballinger and Graydon (2007), pp. 264, 266. </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> Spicer (2007), pp. 19 n. 36, 28. </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> Ballinger and Graydon (2007), pp. 266–68. </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> García López (2015), pp. 46–53. </li> <li id="cite_note-96"><a href="#cite_ref-96">^</a> Spicer (2007), p. 241; Ballinger and Graydon (2007), p. 257. </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> Ballinger and Graydon (2007), pp. 253, 255, 263–64, 266, 267, 270–74; Abbas (1997), p. 34. </li> <li id="cite_note-Schwartz-98"><a href="#cite_ref-Schwartz_98-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSchwartz2005" class="citation web cs1">Schwartz, Ronald (2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131104224706/http://chapters.scarecrowpress.com/08/108/081085676Xch1.pdf">"Neo-Noir The New Film Noir Style from Psycho to Collateral"</a> (PDF). The Scarecrow Press Inc. Archived from <a rel="nofollow" class="external text" href="http://chapters.scarecrowpress.com/08/108/081085676Xch1.pdf">the original</a> (PDF) on November 4, 2013. Retrieved March 31, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Neo-Noir+The+New+Film+Noir+Style+from+Psycho+to+Collateral&rft.pub=The+Scarecrow+Press+Inc.&rft.date=2005&rft.aulast=Schwartz&rft.aufirst=Ronald&rft_id=http%3A%2F%2Fchapters.scarecrowpress.com%2F08%2F108%2F081085676Xch1.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-u284286-99">^ <a href="#cite_ref-u284286_99-0">a</a> <a href="#cite_ref-u284286_99-1">b</a> Ursini (1995), pp. 284–86; Ballinger and Graydon (2007), p. 278. </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSautner" class="citation web cs1">Sautner, Mark. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130218203603/http://www.koreanconfidential.com/koreanpowfilmnoir.html">"Cold War Noir and the Other Films about Korean War POWs"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.koreanconfidential.com/koreanpowfilmnoir.html">the original</a> on February 18, 2013. Retrieved March 31, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cold+War+Noir+and+the+Other+Films+about+Korean+War+POWs&rft.aulast=Sautner&rft.aufirst=Mark&rft_id=http%3A%2F%2Fwww.koreanconfidential.com%2Fkoreanpowfilmnoir.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-Conway-101"><a href="#cite_ref-Conway_101-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFConway" class="citation web cs1">Conway, Marianne B. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130217064144/http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753">"Korean War Film Noir: the POW Movies"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.articledestination.com/Article/Korean-War-Film-Noir--the-POW-Movies/12753">the original</a> on February 17, 2013. Retrieved March 31, 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Korean+War+Film+Noir%3A+the+POW+Movies&rft.aulast=Conway&rft.aufirst=Marianne+B.&rft_id=http%3A%2F%2Fwww.articledestination.com%2FArticle%2FKorean-War-Film-Noir--the-POW-Movies%2F12753&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-102"><a href="#cite_ref-102">^</a> Appel (1974), p. 4. </li> <li id="cite_note-103"><a href="#cite_ref-103">^</a> Ballinger and Graydon (2007), p. 41. </li> <li id="cite_note-104"><a href="#cite_ref-104">^</a> See, e.g., Variety (1955). For a latter-day analysis of the film's self-consciousness, see Naremore (2008), pp. 151–55. See also Kolker (2000), p. 364. </li> <li id="cite_note-105"><a href="#cite_ref-105">^</a> Greene (1999), p. 161. </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> For Mickey One, see Kolker (2000), pp. 21–22, 26–30. For Point Blank, see Ballinger and Graydon (2007), pp. 36, 38, 41, 257. For Klute, see Ballinger and Graydon (2007), pp. 114–15. </li> <li id="cite_note-107"><a href="#cite_ref-107">^</a> Kolker (2000), pp. 344, 363–73; Naremore (2008), pp. 203–5; Ballinger and Graydon (2007), pp. 36, 39, 130–33. </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> Kolker (2000), p. 364; Ballinger and Graydon (2007), p. 132. </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRoss,_Graeme2019" class="citation news cs1">Ross, Graeme (March 11, 2019). <a rel="nofollow" class="external text" href="https://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html">"10 best neo-noir films of all time: From Chinatown to LA Confidential"</a>. independent.co.uk. <a href="/wiki/The_Independent" title="The Independent">The Independent</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180122113842/http://www.independent.co.uk/arts-entertainment/films/the-ten-greatest-neo-noir-films-a7340126.html">Archived</a> from the original on January 22, 2018. Retrieved August 27, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=independent.co.uk&rft.atitle=10+best+neo-noir+films+of+all+time%3A+From+Chinatown+to+LA+Confidential&rft.date=2019-03-11&rft.au=Ross%2C+Graeme&rft_id=https%3A%2F%2Fwww.independent.co.uk%2Farts-entertainment%2Ffilms%2Fthe-ten-greatest-neo-noir-films-a7340126.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> Kolker (2000), pp. 207–44; Silver and Ward (1992), pp. 282–83; Naremore (1998), pp. 34–37, 192. </li> <li id="cite_note-111"><a href="#cite_ref-111">^</a> Silver and Ward (1992), pp. 398–99. </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> For Thieves Like Us, see Kolker (2000), pp. 358–63. For Farewell, My Lovely, see Kirgo (1980), pp. 101–2. </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Ursini (1995), p. 287. </li> <li id="cite_note-W209-114">^ <a href="#cite_ref-W209_114-0">a</a> <a href="#cite_ref-W209_114-1">b</a> Williams (2005), p. 229. </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> For AFI ranking, see <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.afi.com/100Years/movies10.aspx">"AFI's 100 Years ... 100 Movies—10th Anniversary Edition"</a>. American Film Institute. 2007. <a rel="nofollow" class="external text" href="https://archive.today/20120604135712/http://www.afi.com/100years/movies10.aspx">Archived</a> from the original on June 4, 2012. Retrieved April 19, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=AFI%27s+100+Years+...+100+Movies%E2%80%9410th+Anniversary+Edition&rft.pub=American+Film+Institute&rft.date=2007&rft_id=http%3A%2F%2Fwww.afi.com%2F100Years%2Fmovies10.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> For kinship to classic noir boxing films, see Muller (1998), pp. 26–27. </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> Silver and Ward (1992), pp. 400–1, 408. </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> See, e.g., Grothe, Mardy, Viva la Repartee: Clever Comebacks and Witty Retorts from History's Great Wits & Wordsmiths (2005), p. 84. </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141. </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> Wager (2005), p. 101–14. </li> <li id="cite_note-120"><a href="#cite_ref-120">^</a> Lynch and Rodley (2005), p. 241. </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKael1985" class="citation magazine cs1"><a href="/wiki/Pauline_Kael" title="Pauline Kael">Kael, Pauline</a> (February 17, 1985). <a rel="nofollow" class="external text" href="https://www.newyorker.com/magazine/1985/02/25/plain-and-simple">"The Current Cinema: PLAIN AND SIMPLE"</a>. <a href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</a>. Retrieved March 21, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+Yorker&rft.atitle=The+Current+Cinema%3A+PLAIN+AND+SIMPLE&rft.date=1985-02-17&rft.aulast=Kael&rft.aufirst=Pauline&rft_id=https%3A%2F%2Fwww.newyorker.com%2Fmagazine%2F1985%2F02%2F25%2Fplain-and-simple&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> Hirsch (1999), pp. 245–47; Maslin (1996). </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> For Miller's Crossing, see Martin (1997), p. 157; Naremore (2008), p. 214–15; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBarra,_Allen2005" class="citation news cs1">Barra, Allen (February 28, 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100330053905/http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html">"From 'Red Harvest' to 'Deadwood'"</a>. Salon. Archived from <a rel="nofollow" class="external text" href="http://dir.salon.com/story/books/feature/2005/02/28/hammett/index.html">the original</a> on March 30, 2010. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Salon&rft.atitle=From+%27Red+Harvest%27+to+%27Deadwood%27&rft.date=2005-02-28&rft.au=Barra%2C+Allen&rft_id=http%3A%2F%2Fdir.salon.com%2Fstory%2Fbooks%2Ffeature%2F2005%2F02%2F28%2Fhammett%2Findex.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> For The Big Lebowski, see Tyree and Walters (2007), pp. 40, 43–44, 48, 51, 65, 111; Ballinger and Graydon (2007), p. 237. </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> James (2000), pp. xviii–xix. </li> <li id="cite_note-rough279-125">^ <a href="#cite_ref-rough279_125-0">a</a> <a href="#cite_ref-rough279_125-1">b</a> Ballinger and Graydon (2007), p. 279. </li> <li id="cite_note-criterion.com-126">^ <a href="#cite_ref-criterion.com_126-0">a</a> <a href="#cite_ref-criterion.com_126-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.criterion.com/shop/collection/17-noir-and-neonoir">"Noir and Neonoir|The Criterion Collection"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200215014638/https://www.criterion.com/shop/collection/17-noir-and-neonoir">Archived</a> from the original on February 15, 2020. Retrieved February 15, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Noir+and+Neonoir%7CThe+Criterion+Collection&rft_id=https%3A%2F%2Fwww.criterion.com%2Fshop%2Fcollection%2F17-noir-and-neonoir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> See, e.g., Silver and Ward (1992), pp. 398, 402, 407, 412. </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> Creeber, (2007), p. 3. The Singing Detective is the sole TV production cited in <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCorliss,_RichardRichard_Schickel2005" class="citation news cs1">Corliss, Richard; Richard Schickel (May 23, 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100312021319/http://www.time.com/time/2005/100movies/the_complete_list.html">"All-Time 100 Movies"</a>. <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a>. Archived from <a rel="nofollow" class="external text" href="http://www.time.com/time/2005/100movies/the_complete_list.html">the original</a> on March 12, 2010. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=All-Time+100+Movies&rft.date=2005-05-23&rft.au=Corliss%2C+Richard&rft.au=Richard+Schickel&rft_id=http%3A%2F%2Fwww.time.com%2Ftime%2F2005%2F100movies%2Fthe_complete_list.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-129"><a href="#cite_ref-129">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://mubi.com/lists/neon-noir">"NEON-NOIR — Movie List on MUBI"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200128203252/https://mubi.com/lists/neon-noir">Archived</a> from the original on January 28, 2020. Retrieved January 28, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=NEON-NOIR+%E2%80%94+Movie+List+on+MUBI&rft_id=https%3A%2F%2Fmubi.com%2Flists%2Fneon-noir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://vimeo.com/385716226">"Neon Noir (series trailer) on Cinefamily Archive's Vimeo channel"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200731170638/https://vimeo.com/385716226">Archived</a> from the original on July 31, 2020. Retrieved January 30, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Neon+Noir+%28series+trailer%29+on+Cinefamily+Archive%27s+Vimeo+channel&rft_id=https%3A%2F%2Fvimeo.com%2F385716226&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> Ballinger and Graydon (2007), pp. 44, 47, 279–80. </li> <li id="cite_note-132"><a href="#cite_ref-132">^</a> Dueck, Cheryl. (November 2016) 'Secret Police in Style: The Aesthetics of Remembering Socialism'. A Journal of Germanic Studies, Volume 52:4 </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://scene360.com/light/78553/neon-light-movies/">"10 Visually Stunning Movies with Neon Lighting|Scene360"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200731165210/https://scene360.com/light/78553/neon-light-movies/">Archived</a> from the original on July 31, 2020. Retrieved January 30, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=10+Visually+Stunning+Movies+with+Neon+Lighting%7CScene360&rft_id=https%3A%2F%2Fscene360.com%2Flight%2F78553%2Fneon-light-movies%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-134"><a href="#cite_ref-134">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20210701153906/https://www.criterionchannel.com/neonoir">"Neonoir – The Criterion Channel"</a>. Archived from <a rel="nofollow" class="external text" href="https://www.criterionchannel.com/neonoir">the original</a> on July 1, 2021. Retrieved July 2, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Neonoir+%E2%80%93+The+Criterion+Channel&rft_id=https%3A%2F%2Fwww.criterionchannel.com%2Fneonoir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-135"><a href="#cite_ref-135">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=qpljUgXMoFs">"Neonoir – Criterion Channel teaser – criterioncollection on YouTube"</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>. July 2021. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210702021755/https://www.youtube.com/watch?v=qpljUgXMoFs">Archived</a> from the original on July 2, 2021. Retrieved July 2, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=YouTube&rft.atitle=Neonoir+%E2%80%93+Criterion+Channel+teaser+%E2%80%93+criterioncollection+on+YouTube&rft.date=2021-07&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DqpljUgXMoFs&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.thatmomentin.com/5-neon-noir-movies-watch-blade-runner-2049/">"5 Neon-Noir Movies to Watch After Blade Runner 2049|That Moment In"</a>. November 3, 2017. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200731155852/https://www.thatmomentin.com/5-neon-noir-movies-watch-blade-runner-2049/">Archived</a> from the original on July 31, 2020. Retrieved January 30, 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=5+Neon-Noir+Movies+to+Watch+After+Blade+Runner+2049%7CThat+Moment+In&rft.date=2017-11-03&rft_id=https%3A%2F%2Fwww.thatmomentin.com%2F5-neon-noir-movies-watch-blade-runner-2049%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRosen2013" class="citation web cs1">Rosen, Christopher (March 22, 2013). <a rel="nofollow" class="external text" href="https://www.huffingtonpost.com/2013/03/22/spring-breakers-fever-dream_n_2929231.html">"'Spring Breakers' Is A 'Fever Dream'; Or, The Most Common Description Of Harmony Korine's New Film"</a>. <a href="/wiki/HuffPost" title="HuffPost">HuffPost</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160409155134/http://www.huffingtonpost.com/2013/03/22/spring-breakers-fever-dream_n_2929231.html">Archived</a> from the original on April 9, 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HuffPost&rft.atitle=%27Spring+Breakers%27+Is+A+%27Fever+Dream%27%3B+Or%2C+The+Most+Common+Description+Of+Harmony+Korine%27s+New+Film&rft.date=2013-03-22&rft.aulast=Rosen&rft.aufirst=Christopher&rft_id=https%3A%2F%2Fwww.huffingtonpost.com%2F2013%2F03%2F22%2Fspring-breakers-fever-dream_n_2929231.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> Kohn, Eric.'From 'Trance' to 'Spring Breakers,' Is This the Golden Age of Film Noir?'. March 23, 2016. <a rel="nofollow" class="external text" href="https://www.indiewire.com/2013/03/from-trance-to-spring-breakers-is-this-the-golden-age-of-film-noir-39990/">Indiewire Online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220610070446/https://www.indiewire.com/2013/03/from-trance-to-spring-breakers-is-this-the-golden-age-of-film-noir-39990/">Archived</a> 2022-06-10 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-139"><a href="#cite_ref-139">^</a> Arnett, Robert (October 2006) Eighties Noir: The Dissenting Voice in Reagan's America'. <a href="/wiki/Journal_of_Popular_Film_and_Television" class="mw-redirect" title="Journal of Popular Film and Television">Journal of Popular Film and Television</a> : 123 </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> Ballinger and Graydon (2007), pp. 49, 51, 53, 235. </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> Ballinger and Graydon (2007), p. 50. </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHibbs,_Thomas2004" class="citation magazine cs1">Hibbs, Thomas (December 3, 2004). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090322131118/http://www.nationalreview.com/hibbs/hibbs200412030831.asp">"Bale Imitation"</a>. National Review Online. Archived from <a rel="nofollow" class="external text" href="http://www.nationalreview.com/hibbs/hibbs200412030831.asp">the original</a> on March 22, 2009. Retrieved February 11, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=National+Review+Online&rft.atitle=Bale+Imitation&rft.date=2004-12-03&rft.au=Hibbs%2C+Thomas&rft_id=http%3A%2F%2Fwww.nationalreview.com%2Fhibbs%2Fhibbs200412030831.asp&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> Ballinger and Graydon (2007), pp. 107–109. </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMacaulay,_Scott2009" class="citation web cs1">Macaulay, Scott (May 19, 2009). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090825122606/http://filminfocus.com/article/cinema_with_bite__on_the_films_of_park_chan_wook">"Cinema with Bite: On the Films of Park Chan-wook"</a>. Film in Focus. Archived from <a rel="nofollow" class="external text" href="http://www.filminfocus.com/article/cinema_with_bite__on_the_films_of_park_chan_wook">the original</a> on August 25, 2009. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cinema+with+Bite%3A+On+the+Films+of+Park+Chan-wook&rft.pub=Film+in+Focus&rft.date=2009-05-19&rft.au=Macaulay%2C+Scott&rft_id=http%3A%2F%2Fwww.filminfocus.com%2Farticle%2Fcinema_with_bite__on_the_films_of_park_chan_wook&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAccomando2009" class="citation web cs1"><a href="/wiki/Beth_Accomando" title="Beth Accomando">Accomando, Beth</a> (August 20, 2009). <a rel="nofollow" class="external text" href="http://www.kpbs.org/news/2009/aug/20/thirst/">"Thirst"</a>. KPBS.org. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20091005200427/http://www.kpbs.org/news/2009/aug/20/thirst/">Archived</a> from the original on October 5, 2009. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Thirst&rft.pub=KPBS.org&rft.date=2009-08-20&rft.aulast=Accomando&rft.aufirst=Beth&rft_id=http%3A%2F%2Fwww.kpbs.org%2Fnews%2F2009%2Faug%2F20%2Fthirst%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://boxofficemojo.com/genres/chart/?id=neonoir.htm">"Neo Noir Movies at the Box Office"</a>. Box Office Mojo. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100817184313/http://www.boxofficemojo.com/genres/chart/?id=neonoir.htm">Archived</a> from the original on August 17, 2010. Retrieved September 15, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Box+Office+Mojo&rft.atitle=Neo+Noir+Movies+at+the+Box+Office&rft_id=https%3A%2F%2Fboxofficemojo.com%2Fgenres%2Fchart%2F%3Fid%3Dneonoir.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> Naremore (2008), pp. 256, 295–96 </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> Ballinger and Graydon (2007), p. 52. </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20090901132553/http://www.villagevoice.com/2008-12-31/film/2008-film-poll-results">"2008 Film Poll Results"</a>. Village Voice. December 30, 2008. Archived from <a rel="nofollow" class="external text" href="http://www.villagevoice.com/2008-12-31/film/2008-film-poll-results/">the original</a> on September 1, 2009. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Village+Voice&rft.atitle=2008+Film+Poll+Results&rft.date=2008-12-30&rft_id=http%3A%2F%2Fwww.villagevoice.com%2F2008-12-31%2Ffilm%2F2008-film-poll-results%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> Naremore (2008), p. 299 </li> <li id="cite_note-150"><a href="#cite_ref-150">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHughes,_Sarah2006" class="citation news cs1">Hughes, Sarah (March 26, 2006). <a rel="nofollow" class="external text" href="https://www.theguardian.com/film/2006/mar/26/features.review1">"Humphrey Bogart's Back—But This Time Round He's at High School"</a>. The Guardian. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170831002500/https://www.theguardian.com/film/2006/mar/26/features.review1">Archived</a> from the original on August 31, 2017. Retrieved October 10, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Humphrey+Bogart%27s+Back%E2%80%94But+This+Time+Round+He%27s+at+High+School&rft.date=2006-03-26&rft.au=Hughes%2C+Sarah&rft_id=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2006%2Fmar%2F26%2Ffeatures.review1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPuckett2014" class="citation web cs1">Puckett, Terek (May 3, 2014). <a rel="nofollow" class="external text" href="http://www.tasteofcinema.com/2014/the-20-best-neo-noir-films-of-the-2000s/">"The 20 Best Neo-Noir Films Of The 2000s"</a>. Tasteofcinema.com. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220602061256/http://www.tasteofcinema.com/2014/the-20-best-neo-noir-films-of-the-2000s/">Archived</a> from the original on June 2, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+20+Best+Neo-Noir+Films+Of+The+2000s&rft.pub=Tasteofcinema.com&rft.date=2014-05-03&rft.aulast=Puckett&rft.aufirst=Terek&rft_id=http%3A%2F%2Fwww.tasteofcinema.com%2F2014%2Fthe-20-best-neo-noir-films-of-the-2000s%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFNelson" class="citation journal cs1">Nelson, Max. <a rel="nofollow" class="external text" href="https://www.filmcomment.com/article/claire-denis-bastards-review/">"Review: Bastards"</a>. <a href="/wiki/Film_Comment" title="Film Comment">Film Comment</a> (September/October 2013). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171128221809/https://www.filmcomment.com/article/claire-denis-bastards-review/">Archived</a> from the original on November 28, 2017. Retrieved June 3, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Film+Comment&rft.atitle=Review%3A+Bastards&rft.issue=September%2FOctober+2013&rft.aulast=Nelson&rft.aufirst=Max&rft_id=https%3A%2F%2Fwww.filmcomment.com%2Farticle%2Fclaire-denis-bastards-review%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTaubin2013" class="citation web cs1"><a href="/wiki/Amy_Taubin" title="Amy Taubin">Taubin, Amy</a> (2013). <a rel="nofollow" class="external text" href="https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/cannes-2013-this-noir">"This is Noir: The Bastards"</a>. <a href="/wiki/Sight_%26_Sound" class="mw-redirect" title="Sight & Sound">Sight & Sound</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171117095001/http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/festivals/cannes-2013-this-noir">Archived</a> from the original on November 17, 2017. Retrieved June 3, 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sight+%26+Sound&rft.atitle=This+is+Noir%3A+The+Bastards&rft.date=2013&rft.aulast=Taubin&rft.aufirst=Amy&rft_id=https%3A%2F%2Fwww2.bfi.org.uk%2Fnews-opinion%2Fsight-sound-magazine%2Fcomment%2Ffestivals%2Fcannes-2013-this-noir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKanter2020" class="citation web cs1">Kanter, Jake (November 20, 2020). <a rel="nofollow" class="external text" href="https://deadline.com/2020/11/aidan-gillen-science-channel-series-killers-of-the-cosmos-wall-to-wall-1234618542/">"'Game Of Thrones' Star Aidan Gillen To Front Genre-Bending Discovery Cosmology Series 'Killers Of The Cosmos'"</a>. Deadline. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211031013634/https://deadline.com/2020/11/aidan-gillen-science-channel-series-killers-of-the-cosmos-wall-to-wall-1234618542/">Archived</a> from the original on October 31, 2021. Retrieved October 31, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Deadline&rft.atitle=%27Game+Of+Thrones%27+Star+Aidan+Gillen+To+Front+Genre-Bending+Discovery+Cosmology+Series+%27Killers+Of+The+Cosmos%27&rft.date=2020-11-20&rft.aulast=Kanter&rft.aufirst=Jake&rft_id=https%3A%2F%2Fdeadline.com%2F2020%2F11%2Faidan-gillen-science-channel-series-killers-of-the-cosmos-wall-to-wall-1234618542%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://press.discovery.com/us/sci/programs/killer-cosmos/">"Killer of the Cosmos : Programs : Science Channel : Discovery Press Web"</a>. press.discovery.com. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211030221032/https://press.discovery.com/us/sci/programs/killer-cosmos/">Archived</a> from the original on October 30, 2021. Retrieved October 31, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=press.discovery.com&rft.atitle=Killer+of+the+Cosmos+%3A+Programs+%3A+Science+Channel+%3A+Discovery+Press+Web&rft_id=https%3A%2F%2Fpress.discovery.com%2Fus%2Fsci%2Fprograms%2Fkiller-cosmos%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.discovery.com/dnews/when-outer-space-meets-film-noir">"When Outer Space Meets Film Noir"</a>. Discovery. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211030221032/https://www.discovery.com/dnews/when-outer-space-meets-film-noir">Archived</a> from the original on October 30, 2021. Retrieved October 31, 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Discovery&rft.atitle=When+Outer+Space+Meets+Film+Noir&rft_id=https%3A%2F%2Fwww.discovery.com%2Fdnews%2Fwhen-outer-space-meets-film-noir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-157"><a href="#cite_ref-157">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation cs2"><a rel="nofollow" class="external text" href="https://www.tvmaze.com/shows/57201/killers-of-the-cosmos">Killers of the Cosmos | TVmaze</a>, October 24, 2021, <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211030221032/https://www.tvmaze.com/shows/57201/killers-of-the-cosmos">archived</a> from the original on October 30, 2021, retrieved October 31, 2021</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Killers+of+the+Cosmos+%26%23124%3B+TVmaze&rft.date=2021-10-24&rft_id=https%3A%2F%2Fwww.tvmaze.com%2Fshows%2F57201%2Fkillers-of-the-cosmos&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-158"><a href="#cite_ref-158">^</a> Hunter (1982), p. 197. </li> <li id="cite_note-159"><a href="#cite_ref-159">^</a> Kennedy (1982), p. 65. </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> Downs (2002), pp. 171, 173. </li> <li id="cite_note-161"><a href="#cite_ref-161">^</a> Ballinger and Graydon (2007), p. 242. </li> <li id="cite_note-162"><a href="#cite_ref-162">^</a> Aziz (2005), section "Future Noir and Postmodernism: The Irony Begins". Ballinger and Graydon note "future noir" synonyms: "'cyber noir' but predominantly 'tech noir'" (p. 242). </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFDougherty,_Robin1997" class="citation news cs1">Dougherty, Robin (March 21, 1997). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110123090727/http://www.salon.com/march97/crash970321.html">"Sleek Chrome + Bruised Thighs"</a>. Salon. Archived from <a rel="nofollow" class="external text" href="http://www.salon.com/march97/crash970321.html">the original</a> on January 23, 2011. Retrieved September 29, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Salon&rft.atitle=Sleek+Chrome+%2B+Bruised+Thighs&rft.date=1997-03-21&rft.au=Dougherty%2C+Robin&rft_id=http%3A%2F%2Fwww.salon.com%2Fmarch97%2Fcrash970321.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-bg234-164">^ <a href="#cite_ref-bg234_164-0">a</a> <a href="#cite_ref-bg234_164-1">b</a> Dargis (2004); Ballinger and Graydon (2007), p. 234. </li> <li id="cite_note-165"><a href="#cite_ref-165">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCammila_Collar2014" class="citation news cs1">Cammila Collar (2014). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141129215154/http://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview">"The Animatrix: A Detective Story (2003)"</a>. Movies & TV Dept. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. Archived from <a rel="nofollow" class="external text" href="https://www.nytimes.com/movies/movie/282083/The-Animatrix-A-Detective-Story/overview">the original</a> on November 29, 2014. Retrieved March 26, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=The+Animatrix%3A+A+Detective+Story+%282003%29&rft.date=2014&rft.au=Cammila+Collar&rft_id=https%3A%2F%2Fwww.nytimes.com%2Fmovies%2Fmovie%2F282083%2FThe-Animatrix-A-Detective-Story%2Foverview&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-166"><a href="#cite_ref-166">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJeffries,_L._B.2010" class="citation magazine cs1">Jeffries, L. B. (January 19, 2010). <a rel="nofollow" class="external text" href="https://www.popmatters.com/pm/feature/115481-the-film-noir-roots-of-cowboy-bebop">"The Film Noir Roots of Cowboy Bebop"</a>. PopMatters. Retrieved January 25, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=PopMatters&rft.atitle=The+Film+Noir+Roots+of+Cowboy+Bebop&rft.date=2010-01-19&rft.au=Jeffries%2C+L.+B.&rft_id=https%3A%2F%2Fwww.popmatters.com%2Fpm%2Ffeature%2F115481-the-film-noir-roots-of-cowboy-bebop&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-167"><a href="#cite_ref-167">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMatt_Zoller_Seitz2015" class="citation web cs1">Matt Zoller Seitz (April 9, 2015). <a rel="nofollow" class="external text" href="https://www.rogerebert.com/reviews/ex-machina-2015">"Ex Machina"</a>. rogerebert.com. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150412001200/https://www.rogerebert.com/reviews/ex-machina-2015">Archived</a> from the original on April 12, 2015. Retrieved June 3, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ex+Machina&rft.pub=rogerebert.com&rft.date=2015-04-09&rft.au=Matt+Zoller+Seitz&rft_id=https%3A%2F%2Fwww.rogerebert.com%2Freviews%2Fex-machina-2015&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-rise2019-168">^ <a href="#cite_ref-rise2019_168-0">a</a> <a href="#cite_ref-rise2019_168-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://bittersoutherner.com/the-rise-of-rural-noir-southern-crime-fiction">"The Rise of Rural Noir: Southern Crime Fiction"</a>. The Bitter Southerner. July 21, 2019. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Bitter+Southerner&rft.atitle=The+Rise+of+Rural+Noir%3A+Southern+Crime+Fiction&rft.date=2019-07-21&rft_id=https%3A%2F%2Fbittersoutherner.com%2Fthe-rise-of-rural-noir-southern-crime-fiction&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-bouman2015-169"><a href="#cite_ref-bouman2015_169-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBouman2015" class="citation web cs1"><a href="/wiki/Tom_Bouman" title="Tom Bouman">Bouman, Tom</a> (May 20, 2015). <a rel="nofollow" class="external text" href="https://www.theguardian.com/books/2015/may/20/top-10-rural-noir-novels-american-fiction">"Top 10 rural noir novels"</a>. The Guardian. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Top+10+rural+noir+novels&rft.date=2015-05-20&rft.aulast=Bouman&rft.aufirst=Tom&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2015%2Fmay%2F20%2Ftop-10-rural-noir-novels-american-fiction&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-heath2023-170">^ <a href="#cite_ref-heath2023_170-0">a</a> <a href="#cite_ref-heath2023_170-1">b</a> <a href="#cite_ref-heath2023_170-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHeath2023" class="citation web cs1">Heath, Nicola (December 25, 2023). <a rel="nofollow" class="external text" href="https://www.abc.net.au/news/2023-12-26/outback-noir-australian-crime-fiction-scrublands-the-dry/103229200">"What is outback noir and why is so much crime fiction set in regional Australia"</a>. <a href="/wiki/ABC_News_(Australia)" title="ABC News (Australia)">ABC News</a>. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ABC+News&rft.atitle=What+is+outback+noir+and+why+is+so+much+crime+fiction+set+in+regional+Australia&rft.date=2023-12-25&rft.aulast=Heath&rft.aufirst=Nicola&rft_id=https%3A%2F%2Fwww.abc.net.au%2Fnews%2F2023-12-26%2Foutback-noir-australian-crime-fiction-scrublands-the-dry%2F103229200&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-burge2024-171"><a href="#cite_ref-burge2024_171-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBurge2024" class="citation web cs1">Burge, Michael (June 8, 2024). <a rel="nofollow" class="external text" href="https://www.theguardian.com/australia-news/article/2024/jun/09/australian-rural-fiction-is-booming-its-time-it-represented-the-true-diversity-of-the-bush">"Australian rural crime fiction is booming – it's time it represented the true diversity of the bush"</a>. The Guardian. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Australian+rural+crime+fiction+is+booming+%E2%80%93+it%27s+time+it+represented+the+true+diversity+of+the+bush&rft.date=2024-06-08&rft.aulast=Burge&rft.aufirst=Michael&rft_id=https%3A%2F%2Fwww.theguardian.com%2Faustralia-news%2Farticle%2F2024%2Fjun%2F09%2Faustralian-rural-fiction-is-booming-its-time-it-represented-the-true-diversity-of-the-bush&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-172"><a href="#cite_ref-172">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRoysdon2023" class="citation web cs1">Roysdon, Keith (August 10, 2023). <a rel="nofollow" class="external text" href="https://dailyyonder.com/spotlighting-rural-crime-fiction-small-town-sins-the-hunt-longmire-joe-pickett-quinn-colson/2023/08/10/">"Spotlighting Rural Crime Fiction"</a>. The Daily Yonder. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Daily+Yonder&rft.atitle=Spotlighting+Rural+Crime+Fiction&rft.date=2023-08-10&rft.aulast=Roysdon&rft.aufirst=Keith&rft_id=https%3A%2F%2Fdailyyonder.com%2Fspotlighting-rural-crime-fiction-small-town-sins-the-hunt-longmire-joe-pickett-quinn-colson%2F2023%2F08%2F10%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-173"><a href="#cite_ref-173">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGaunson2024" class="citation web cs1">Gaunson, Stephen (March 20, 2024). <a rel="nofollow" class="external text" href="https://inreview.com.au/inreview/film/2024/03/20/high-country-delivers-a-fresh-take-on-australian-rural-noir/">"High Country delivers a fresh take on Australian rural noir"</a>. <a href="/wiki/InReview" class="mw-redirect" title="InReview">InReview</a>. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=InReview&rft.atitle=High+Country+delivers+a+fresh+take+on+Australian+rural+noir&rft.date=2024-03-20&rft.aulast=Gaunson&rft.aufirst=Stephen&rft_id=https%3A%2F%2Finreview.com.au%2Finreview%2Ffilm%2F2024%2F03%2F20%2Fhigh-country-delivers-a-fresh-take-on-australian-rural-noir%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-174"><a href="#cite_ref-174">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKing2024" class="citation web cs1">King, Stewart (February 6, 2024). <a rel="nofollow" class="external text" href="https://theconversation.com/indigenous-crime-fiction-is-rare-but-in-madukka-the-river-serpent-systemic-violence-and-connection-to-country-are-explored-201860">"Indigenous crime fiction is rare, but in Madukka the River Serpent systemic violence and connection to Country are explored"</a>. <a href="/wiki/The_Conversation_(website)" title="The Conversation (website)">The Conversation</a>. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Conversation&rft.atitle=Indigenous+crime+fiction+is+rare%2C+but+in+Madukka+the+River+Serpent+systemic+violence+and+connection+to+Country+are+explored&rft.date=2024-02-06&rft.aulast=King&rft.aufirst=Stewart&rft_id=https%3A%2F%2Ftheconversation.com%2Findigenous-crime-fiction-is-rare-but-in-madukka-the-river-serpent-systemic-violence-and-connection-to-country-are-explored-201860&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-175"><a href="#cite_ref-175">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFDas2021" class="citation web cs1">Das, Parvathy (July 2, 2021). <a rel="nofollow" class="external text" href="https://offscreen.com/view/land-in-outback-noir-films-trope-of-spatial-alienation-of-aboriginal-people-in-ivan-sens-mystery-road-2013-and-goldstone-2016">"Land in Outback Noir Films: Trope of Spatial Alienation of Aboriginal People in Ivan Sen's Mystery Road (2013) and Goldstone (2016)"</a>. Offscreen. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Offscreen&rft.atitle=Land+in+Outback+Noir+Films%3A+Trope+of+Spatial+Alienation+of+Aboriginal+People+in+Ivan+Sen%27s+Mystery+Road+%282013%29+and+Goldstone+%282016%29&rft.date=2021-07-02&rft.aulast=Das&rft.aufirst=Parvathy&rft_id=https%3A%2F%2Foffscreen.com%2Fview%2Fland-in-outback-noir-films-trope-of-spatial-alienation-of-aboriginal-people-in-ivan-sens-mystery-road-2013-and-goldstone-2016&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-176"><a href="#cite_ref-176">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFComini2023" class="citation web cs1">Comini, Rebecca (June 1, 2023). <a rel="nofollow" class="external text" href="https://cathnews.com/2023/06/02/outback-noir-lays-out-the-racism-faced-by-indigenous-australians/">"Outback noir lays out the racism faced by Indigenous Australians"</a>. CathNews. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=CathNews&rft.atitle=Outback+noir+lays+out+the+racism+faced+by+Indigenous+Australians&rft.date=2023-06-01&rft.aulast=Comini&rft.aufirst=Rebecca&rft_id=https%3A%2F%2Fcathnews.com%2F2023%2F06%2F02%2Foutback-noir-lays-out-the-racism-faced-by-indigenous-australians%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-177"><a href="#cite_ref-177">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFClarke2023" class="citation web cs1">Clarke, Rhiannon (April 13, 2023). <a rel="nofollow" class="external text" href="https://nit.com.au/13-04-2023/5589/renowned-indigenous-filmmaker-ivan-sen-returns-to-screens-with-critically-acclaimed-outback-noir-film-limbo">"Renowned Indigenous filmmaker Ivan Sen returns to screens with critically acclaimed outback noir film 'Limbo'"</a>. <a href="/wiki/National_Indigenous_Times" title="National Indigenous Times">National Indigenous Times</a>. Retrieved October 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Indigenous+Times&rft.atitle=Renowned+Indigenous+filmmaker+Ivan+Sen+returns+to+screens+with+critically+acclaimed+outback+noir+film+%27Limbo%27&rft.date=2023-04-13&rft.aulast=Clarke&rft.aufirst=Rhiannon&rft_id=https%3A%2F%2Fnit.com.au%2F13-04-2023%2F5589%2Frenowned-indigenous-filmmaker-ivan-sen-returns-to-screens-with-critically-acclaimed-outback-noir-film-limbo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-SW_parody-178">^ <a href="#cite_ref-SW_parody_178-0">a</a> <a href="#cite_ref-SW_parody_178-1">b</a> Silver and Ward (1992), p. 332. </li> <li id="cite_note-179"><a href="#cite_ref-179">^</a> Richardson (1992), p. 120. </li> <li id="cite_note-180"><a href="#cite_ref-180">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSpringer2013" class="citation web cs1">Springer, Katherine (June 23, 2013). <a rel="nofollow" class="external text" href="http://www.filmfracture.com/frame_of_mind/touch_of_noir_top_5_film_noir_parodies">"Touch Of Noir: Top 5 Film Noir Parodies"</a>. FilmFracture. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180426080159/http://www.filmfracture.com/frame_of_mind/touch_of_noir_top_5_film_noir_parodies">Archived</a> from the original on April 26, 2018. Retrieved April 25, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=FilmFracture&rft.atitle=Touch+Of+Noir%3A+Top+5+Film+Noir+Parodies&rft.date=2013-06-23&rft.aulast=Springer&rft.aufirst=Katherine&rft_id=http%3A%2F%2Fwww.filmfracture.com%2Fframe_of_mind%2Ftouch_of_noir_top_5_film_noir_parodies&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-181"><a href="#cite_ref-181">^</a> Naremore (2008), p. 158. </li> <li id="cite_note-182"><a href="#cite_ref-182">^</a> See, e.g., Kolker (2000), pp. 238–41. </li> <li id="cite_note-183"><a href="#cite_ref-183">^</a> Silver and Ward (1992), p. 419. </li> <li id="cite_note-184"><a href="#cite_ref-184">^</a> Holden (1999). </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> Irwin (2006), p. xii. </li> <li id="cite_note-186"><a href="#cite_ref-186">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHarley2019" class="citation web cs1">Harley, Nick (October 31, 2019). <a rel="nofollow" class="external text" href="https://www.denofgeek.com/tv/always-sunny-season-14-episode-6-review-the-janitor-always-mops-twice/">"Always Sunny Season 14 Episode 6 Review: The Janitor Always Mops Twice"</a>. Den of Geek. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230203073418/https://www.denofgeek.com/tv/always-sunny-season-14-episode-6-review-the-janitor-always-mops-twice/">Archived</a> from the original on February 3, 2023. Retrieved February 3, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Den+of+Geek&rft.atitle=Always+Sunny+Season+14+Episode+6+Review%3A+The+Janitor+Always+Mops+Twice&rft.date=2019-10-31&rft.aulast=Harley&rft.aufirst=Nick&rft_id=https%3A%2F%2Fwww.denofgeek.com%2Ftv%2Falways-sunny-season-14-episode-6-review-the-janitor-always-mops-twice%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-187"><a href="#cite_ref-187">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.avclub.com/charlie-is-his-own-film-noir-hero-in-tonights-its-alway-1839472006">"Charlie is his own film noir hero in tonight's killer It's Always Sunny pastiche"</a>. The A.V. Club. October 31, 2019. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230203073411/https://www.avclub.com/charlie-is-his-own-film-noir-hero-in-tonights-its-alway-1839472006">Archived</a> from the original on February 3, 2023. Retrieved February 3, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+A.V.+Club&rft.atitle=Charlie+is+his+own+film+noir+hero+in+tonight%27s+killer+It%27s+Always+Sunny+pastiche&rft.date=2019-10-31&rft_id=https%3A%2F%2Fwww.avclub.com%2Fcharlie-is-his-own-film-noir-hero-in-tonights-its-alway-1839472006&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-188"><a href="#cite_ref-188">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRennie2008" class="citation news cs1">Rennie, Paul (September 29, 2008). <a rel="nofollow" class="external text" href="https://www.theguardian.com/film/2008/sep/26/poster.vertigo">"Vertigo: Disorientation in orange"</a>. The Guardian. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901080244/https://www.theguardian.com/film/2008/sep/26/poster.vertigo">Archived</a> from the original on September 1, 2023. Retrieved April 25, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Vertigo%3A+Disorientation+in+orange&rft.date=2008-09-29&rft.aulast=Rennie&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.theguardian.com%2Ffilm%2F2008%2Fsep%2F26%2Fposter.vertigo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-189"><a href="#cite_ref-189">^</a> Bould (2005), p. 18. </li> <li id="cite_note-190"><a href="#cite_ref-190">^</a> Borde and Chaumeton (2002), pp. 161–63. </li> <li id="cite_note-191"><a href="#cite_ref-191">^</a> Silver and Ward (1992) list 315 classic films noir (passim), and Tuska (1984) lists 320 (passim). Later works are much more inclusive: Paul Duncan, The Pocket Essential Film Noir (2003), lists 647 (pp. 46–84). The title of Michael F. Keaney's Film Noir Guide: 745 Films of the Classic Era, 1940–1959 (2003) is self-explanatory. </li> <li id="cite_note-192"><a href="#cite_ref-192">^</a> Treated as noir: Ballinger and Graydon (2007), p. 34; Hirsch (2001), pp. 59, 163–64, 168. Excluded from canon: Silver and Ward (1992), p. 330. Ignored: Bould (2005); Christopher (1998); Ottoson (1981). </li> <li id="cite_note-193"><a href="#cite_ref-193">^</a> Included: Bould (2005), p. 126; Ottoson (1981), p. 174. Ignored: Ballinger and Graydon (2007); Hirsch (2001); Christopher (1998). Also see Silver and Ward (1992): ignored in 1980; included in 1988 (pp. 392, 396). </li> <li id="cite_note-194"><a href="#cite_ref-194">^</a> See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), p. 8. </li> <li id="cite_note-195"><a href="#cite_ref-195">^</a> See, e.g., Ray (1985), p. 159. </li> <li id="cite_note-196"><a href="#cite_ref-196">^</a> Williams (2005), pp. 34–37. </li> <li id="cite_note-197"><a href="#cite_ref-197">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFEbert1995" class="citation news cs1">Ebert, Roger (January 30, 1995). <a rel="nofollow" class="external text" href="https://www.rogerebert.com/roger-ebert/a-guide-to-film-noir-genre">"A Guide to Film Noir"</a>. <a href="/wiki/Chicago_Sun_Times" class="mw-redirect" title="Chicago Sun Times">Chicago Sun Times</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901080239/https://www.rogerebert.com/roger-ebert/a-guide-to-film-noir-genre">Archived</a> from the original on September 1, 2023. Retrieved February 22, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Chicago+Sun+Times&rft.atitle=A+Guide+to+Film+Noir&rft.date=1995-01-30&rft.aulast=Ebert&rft.aufirst=Roger&rft_id=https%3A%2F%2Fwww.rogerebert.com%2Froger-ebert%2Fa-guide-to-film-noir-genre&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-198"><a href="#cite_ref-198">^</a> See Ballinger and Graydon (2007), p. 31, on general issue. Christopher (1998) and Silver and Ward (1992), for instance, include Slightly Scarlet and Party Girl, but not Vertigo, in their filmographies. By contrast, Hirsch (2001) describes Vertigo as among those Hitchcock films that are "richly, demonstrably noir" (p. 139) and ignores both Slightly Scarlet and Party Girl; Bould (2005) similarly includes Vertigo in his filmography, but not the other two. Ottoson (1981) includes none of the three in his canon. </li> <li id="cite_note-199"><a href="#cite_ref-199">^</a> Place and Peterson (1974), p. 67. </li> <li id="cite_note-200"><a href="#cite_ref-200">^</a> Hirsch (2001), p. 67. </li> <li id="cite_note-201"><a href="#cite_ref-201">^</a> Silver (1995), pp. 219, 222. </li> <li id="cite_note-202"><a href="#cite_ref-202">^</a> Telotte (1989), pp. 74–87. </li> <li id="cite_note-203"><a href="#cite_ref-203">^</a> Neale (2000), pp. 166–67 n. 5. </li> <li id="cite_note-204"><a href="#cite_ref-204">^</a> Telotte (1989), p. 106. </li> <li id="cite_note-205"><a href="#cite_ref-205">^</a> Rombes, Nicholas, New Punk Cinema (2005), pp. 131–36. </li> <li id="cite_note-206"><a href="#cite_ref-206">^</a> Slocum (2001), p. 160. </li> <li id="cite_note-207"><a href="#cite_ref-207">^</a> Server (2006), p. 149. </li> <li id="cite_note-208"><a href="#cite_ref-208">^</a> Ottoson (1981), p. 143. </li> <li id="cite_note-209"><a href="#cite_ref-209">^</a> See, e.g., Naremore (2008), p. 25; Lyons (2000), p. 10. </li> <li id="cite_note-210"><a href="#cite_ref-210">^</a> Silver and Ward (1992), p. 6. </li> <li id="cite_note-211"><a href="#cite_ref-211">^</a> See, e.g., Hirsch (2001), pp. 128, 150, 160, 213; Christopher (1998), pp. 4, 32, 75, 83, 116, 118, 128, 155. </li> <li id="cite_note-212"><a href="#cite_ref-212">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAbrams2006" class="citation book cs1">Abrams, Jerold J. (2006). The Philosophy of Film Noir. University Press of Kentucky.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Philosophy+of+Film+Noir&rft.pub=University+Press+of+Kentucky&rft.date=2006&rft.aulast=Abrams&rft.aufirst=Jerold+J.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-213"><a href="#cite_ref-213">^</a> See, e.g., Hirsch (2001), p. 17; Christopher (1998), p. 17; Telotte (1989), p. 148. </li> <li id="cite_note-214"><a href="#cite_ref-214">^</a> Ballinger and Graydon (2007), pp. 217–18; Hirsch (2001), p. 64. </li> <li id="cite_note-215"><a href="#cite_ref-215">^</a> Bould (2005), p. 18, on the critical establishment of this iconography, as well as p. 35; Hirsch (2001), p. 213; Christopher (1998), p. 7. </li> <li id="cite_note-216"><a href="#cite_ref-216">^</a> Holm (2005), pp. 13–25 passim. </li> <li id="cite_note-217"><a href="#cite_ref-217">^</a> See, e.g., Naremore (2008), p. 37, on the development of this viewpoint, and p. 103, on contributors to Silver and Ward encyclopedia; Ottoson (1981), p. 1. </li> <li id="cite_note-218"><a href="#cite_ref-218">^</a> See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), pp. 7–8. </li> <li id="cite_note-219"><a href="#cite_ref-219">^</a> Christopher (1998), p. 37. </li> <li id="cite_note-220"><a href="#cite_ref-220">^</a> See, e.g., Muller (1998), p. 81, on analyses of the film; Silver and Ward (1992), p. 2. </li> <li id="cite_note-221"><a href="#cite_ref-221">^</a> See, e.g., Naremore (2008), p. 163, on critical claims of moral ambiguity; Lyons (2000), pp. 14, 32. </li> <li id="cite_note-222"><a href="#cite_ref-222">^</a> See Skoble (2006), pp. 41–48, for a survey of noir morality. </li> <li id="cite_note-223"><a href="#cite_ref-223">^</a> Ottoson (1981), p. 1. </li> <li id="cite_note-224"><a href="#cite_ref-224">^</a> Schrader (1972), p. 54 [in Silver and Ursini]. For characterization of definitive tone as "hopeless", see pp. 53 ("the tone more hopeless") and 57 ("a fatalistic, hopeless mood"). </li> <li id="cite_note-225"><a href="#cite_ref-225">^</a> Hirsch (2001), p. 7. Hirsch subsequently states, "In character types, mood [emphasis added], themes, and visual composition, Double Indemnity offer[s] a lexicon of noir stylistics" (p. 8). </li> <li id="cite_note-226"><a href="#cite_ref-226">^</a> Sanders (2006), p. 100. </li> <li id="cite_note-227"><a href="#cite_ref-227">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBUTLER2016" class="citation book cs1">BUTLER, DAVID (2016). Film noir and music. Cambridge University Press. pp. 175–186. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781107476493" title="Special:BookSources/9781107476493"><bdi>9781107476493</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Film+noir+and+music&rft.pages=%3Cspan+class%3D%22nowrap%22%3E175-%3C%2Fspan%3E186&rft.pub=Cambridge+University+Press&rft.date=2016&rft.isbn=9781107476493&rft.aulast=BUTLER&rft.aufirst=DAVID&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-228"><a href="#cite_ref-228">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRózsa1982" class="citation book cs1">Rózsa, Miklós (1982). Double Life. London: The Baton Press. pp. 121–122. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-85936-209-4" title="Special:BookSources/0-85936-209-4"><bdi>0-85936-209-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Double+Life&rft.place=London&rft.pages=%3Cspan+class%3D%22nowrap%22%3E121-%3C%2Fspan%3E122&rft.pub=The+Baton+Press&rft.date=1982&rft.isbn=0-85936-209-4&rft.aulast=R%C3%B3zsa&rft.aufirst=Mikl%C3%B3s&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-plurals-229"><a href="#cite_ref-plurals_229-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.merriam-webster.com/dictionary/film%20noir">"film noir"</a>. Merriam-Webster Online Dictionary. <a href="/wiki/Merriam%E2%80%93Webster" class="mw-redirect" title="Merriam–Webster">Merriam-Webster Online</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901080239/https://www.merriam-webster.com/dictionary/film%20noir">Archived</a> from the original on September 1, 2023. Retrieved February 10, 2009. <q>Inflected Form(s): plural film noirs \-'nwär(z)\ or films noir or films noirs \-'nwär\</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Merriam-Webster+Online+Dictionary&rft.atitle=film+noir&rft_id=http%3A%2F%2Fwww.merriam-webster.com%2Fdictionary%2Ffilm%2520noir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFilm+noir" class="Z3988"> </li> <li id="cite_note-230"><a href="#cite_ref-230">^</a> OED Third Edition, September 2016 </li> <li id="cite_note-231"><a href="#cite_ref-231">^</a> Server (2002), pp. 182–98, 209–16; Downs (2002), p. 171; Ottoson (1981), pp. 82–83. </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=27" title="Edit section: Sources">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239549316" /><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><a href="/wiki/Ackbar_Abbas" title="Ackbar Abbas">Abbas, M. Ackbar</a> (1997). Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8166-2924-4" title="Special:BookSources/978-0-8166-2924-4">978-0-8166-2924-4</a></li> <li>Appel, Alfred (1974). Nabokov's Dark Cinema. Oxford and New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-501834-9" title="Special:BookSources/978-0-19-501834-9">978-0-19-501834-9</a></li> <li>Aziz, Jamaluddin Bin (2005). "Future Noir", chap. in "Transgressing Women: Investigating Space and the Body in Contemporary Noir Thrillers". Ph.D. dissertation, Department of English and Creative Writing, Lancaster University (chapter available <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081202113605/http://www.crimeculture.com/Contents/Articles-Summer05/JemAziz1.html">online</a>).</li> <li>Ballinger, Alexander, and Danny Graydon (2007). The Rough Guide to Film Noir. London: Rough Guides. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84353-474-7" title="Special:BookSources/978-1-84353-474-7">978-1-84353-474-7</a></li> <li>Bernstein, Matthew (1995). "A Tale of Three Cities: The Banning of Scarlet Street", Cinema Journal 35, no. 1.</li> <li>Biesen, Sheri Chinen (2005). Blackout: World War II and the Origins of Film Noir. Baltimore: Johns Hopkins University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8018-8217-3" title="Special:BookSources/978-0-8018-8217-3">978-0-8018-8217-3</a></li> <li>Borde, Raymond, and Etienne Chaumeton (2002 [1955]). A Panorama of American Film Noir, 1941–1953, trans. Paul Hammond. San Francisco: City Lights Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87286-412-2" title="Special:BookSources/978-0-87286-412-2">978-0-87286-412-2</a></li> <li>Bould, Mark (2005). Film Noir: From Berlin to Sin City. London and New York: Wallflower. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-904764-50-2" title="Special:BookSources/978-1-904764-50-2">978-1-904764-50-2</a></li> <li>Butler, David (2002). Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction. Westport, Conn.: Greenwood. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-275-97301-8" title="Special:BookSources/978-0-275-97301-8">978-0-275-97301-8</a></li> <li>Cameron, Ian, ed. (1993). The Book of Film Noir. New York: Continuum. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8264-0589-0" title="Special:BookSources/978-0-8264-0589-0">978-0-8264-0589-0</a></li> <li>Christopher, Nicholas (1998 [1997]). Somewhere in the Night: Film Noir and the American City, 1st paperback ed. New York: Owl/Henry Holt. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8050-5699-0" title="Special:BookSources/978-0-8050-5699-0">978-0-8050-5699-0</a></li> <li>Clarens, Carlos (1980). Crime Movies: An Illustrated History. New York: W.W. Norton. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-01262-0" title="Special:BookSources/978-0-393-01262-0">978-0-393-01262-0</a></li> <li>Conard, Mark T. (2007). The Philosophy of Neo-Noir. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8131-2422-3" title="Special:BookSources/978-0-8131-2422-3">978-0-8131-2422-3</a></li> <li>Copjec, Joan, ed. (1993). Shades of Noir. London and New York: Verso. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-86091-625-3" title="Special:BookSources/978-0-86091-625-3">978-0-86091-625-3</a></li> <li>Creeber, Glen (2007). The Singing Detective. London: BFI Publishing. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-198-7" title="Special:BookSources/978-1-84457-198-7">978-1-84457-198-7</a></li> <li><a href="/wiki/Ken_Dancyger" title="Ken Dancyger">Dancyger, Ken</a>, and Jeff Rush (2002). Alternative Scriptwriting: Successfully Breaking the Rules, 3d ed. Boston and Oxford: Focal Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-240-80477-4" title="Special:BookSources/978-0-240-80477-4">978-0-240-80477-4</a></li> <li>Dargis, Manohla (2004). "Philosophizing Sex Dolls amid Film Noir Intrigue", The New York Times, September 17 (available <a rel="nofollow" class="external text" href="https://movies.nytimes.com/2004/09/17/movies/17GHOS.html">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901080247/https://www.nytimes.com/2004/09/17/movies/philosophizing-sex-dolls-amid-film-noir-intrigue.html">Archived</a> 2023-09-01 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li>Davis, Blair (2004). "Horror Meets Noir: The Evolution of Cinematic Style, 1931–1958", in Horror Film: Creating and Marketing Fear, ed. Steffen Hantke. Jackson: University Press of Mississippi. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-57806-692-6" title="Special:BookSources/978-1-57806-692-6">978-1-57806-692-6</a></li> <li>Downs, Jacqueline (2002). "Richard Fleischer", in Contemporary North American Film Directors: A Wallflower Critical Guide, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson. London and New York: Wallflower. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-903364-52-9" title="Special:BookSources/978-1-903364-52-9">978-1-903364-52-9</a></li> <li><a href="/wiki/Raymond_Durgnat" title="Raymond Durgnat">Durgnat, Raymond</a> (1970). "Paint It Black: The Family Tree of the Film Noir", Cinema 6/7 (collected in Gorman et al., The Big Book of Noir, and Silver and Ursini, Film Noir Reader [1]).</li> <li>Erickson, Glenn (2004). "Fate Seeks the Loser: Edgar G. Ulmer's Detour", in Silver and Ursini, Film Noir Reader 4, pp. 25–31.</li> <li>Gorman, Ed, Lee Server, and Martin H. Greenberg, eds. (1998). The Big Book of Noir. New York: Carroll & Graf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7867-0574-0" title="Special:BookSources/978-0-7867-0574-0">978-0-7867-0574-0</a></li> <li>Greene, Naomi (1999). Landscapes of Loss: The National Past in Postwar French Cinema. Princeton, N.J.: Princeton University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-691-00475-4" title="Special:BookSources/978-0-691-00475-4">978-0-691-00475-4</a></li> <li>Greenspun, Roger (1973). "Mike Hodges's 'Pulp' Opens; A Private Eye Parody Is Parody of Itself", The New York Times, February 9 (available <a rel="nofollow" class="external text" href="https://movies.nytimes.com/movie/review?res=9B05E3D71738EF3ABC4153DFB4668388669EDE">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901080244/https://www.nytimes.com/1973/02/09/archives/screen-mike-hodgess-pulp-opensa-private-eye-parody-is-parody-of.html">Archived</a> 2023-09-01 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li>Hanson, Helen (2008). Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London and New York: I.B. Tauris. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84511-561-6" title="Special:BookSources/978-1-84511-561-6">978-1-84511-561-6</a></li> <li>Hayde, Michael J. (2001). My Name's Friday: The Unauthorized But True Story of Dragnet and the Films of Jack Webb. Nashville, Tenn.: Cumberland House. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58182-190-1" title="Special:BookSources/978-1-58182-190-1">978-1-58182-190-1</a></li> <li><a href="/wiki/Foster_Hirsch" title="Foster Hirsch">Hirsch, Foster</a> (1999). Detours and Lost Highways: A Map of Neo-Noir. Pompton Plains, N.J.: Limelight. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87910-288-3" title="Special:BookSources/978-0-87910-288-3">978-0-87910-288-3</a></li> <li>Hirsch, Foster (2001 [1981]). The Dark Side of the Screen: Film Noir. New York: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-81039-8" title="Special:BookSources/978-0-306-81039-8">978-0-306-81039-8</a></li> <li>Holden, Stephen (1999). "Hard-Boiled as a Two-Day-Old Egg at a Two-Bit Diner", The New York Times, October 8 (available <a rel="nofollow" class="external text" href="https://movies.nytimes.com/movie/review?res=9C07E6D61231F93BA35753C1A96F958260">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230901081257/https://www.nytimes.com/1999/10/08/movies/film-festival-review-hard-boiled-as-a-two-day-old-egg-at-a-two-bit-diner.html">Archived</a> 2023-09-01 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li><a href="/wiki/D._K._Holm" title="D. K. Holm">Holm, D. K.</a> (2005). Film Soleil. Harpenden, UK: Pocket Essentials. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-904048-50-3" title="Special:BookSources/978-1-904048-50-3">978-1-904048-50-3</a></li> <li>Hunter, Stephen (1982). "Blade Runner", in his Violent Screen: A Critic's 13 Years on the Front Lines of Movie Mayhem (1995), pp. 196–99. Baltimore: Bancroft. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9635376-4-5" title="Special:BookSources/978-0-9635376-4-5">978-0-9635376-4-5</a></li> <li>Irwin, John T. (2006). Unless the Threat of Death is Behind Them: Hard-Boiled Fiction and Film Noir. Baltimore: Johns Hopkins University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8018-8435-1" title="Special:BookSources/978-0-8018-8435-1">978-0-8018-8435-1</a></li> <li>James, Nick (2002). "Back to the Brats", in Contemporary North American Film Directors, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson, pp. xvi–xx. London: Wallflower. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-903364-52-9" title="Special:BookSources/978-1-903364-52-9">978-1-903364-52-9</a></li> <li>Jones, Kristin M. (2009). "Dark Cynicism, British Style", Wall Street Journal, August 18 (available <a rel="nofollow" class="external text" href="https://www.wsj.com/articles/SB10001424052970203863204574346821061307860">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170710084435/https://www.wsj.com/articles/SB10001424052970203863204574346821061307860">Archived</a> 2017-07-10 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li>Kennedy, Harlan (1982). "Twenty-First Century Nervous Breakdown", Film Comment, July/August.</li> <li>Kirgo, Julie (1980). "Farewell, My Lovely (1975)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 101–2.</li> <li>Kolker, Robert (2000). A Cinema of Loneliness, 3d ed. Oxford and New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-512350-0" title="Special:BookSources/978-0-19-512350-0">978-0-19-512350-0</a></li> <li>Krutnik, Frank, Steve Neale, and Brian Neve (2008). "Un-American" Hollywood: Politics and Film in the Blacklist Era. New Brunswick, N.J.: Rutgers University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8135-4198-3" title="Special:BookSources/978-0-8135-4198-3">978-0-8135-4198-3</a></li> <li>Lynch, David, and Chris Rodley (2005). Lynch on Lynch, rev. ed. New York and London: Faber and Faber. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-22018-2" title="Special:BookSources/978-0-571-22018-2">978-0-571-22018-2</a></li> <li>Lyons, Arthur (2000). Death on the Cheap: The Lost B Movies of Film Noir. New York: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-80996-5" title="Special:BookSources/978-0-306-80996-5">978-0-306-80996-5</a></li> <li><a href="/wiki/Carl_Macek" title="Carl Macek">Macek, Carl</a> (1980). "City Streets (1931)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 59–60.</li> <li>Macek, Carl, and Alain Silver (1980). "House on 92nd Street (1945)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 134–35.</li> <li>Mackendrick, Alexander (2006). On Film-making: An Introduction to the Craft of the Director. New York: Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-21125-8" title="Special:BookSources/978-0-571-21125-8">978-0-571-21125-8</a></li> <li>Marshman, Donald (1947). "Mister 'See'-Odd-Mack'", Life, August 25.</li> <li>Martin, Richard (1997). Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. Lanham, Md.: Scarecrow Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8108-3337-9" title="Special:BookSources/0-8108-3337-9">0-8108-3337-9</a></li> <li>Maslin, Janet (1996). "Deadly Plot by a Milquetoast Villain", The New York Times, March 8 (available <a rel="nofollow" class="external text" href="https://movies.nytimes.com/movie/review?res=9803E1DA1F39F93BA35750C0A960958260">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120808194808/http://movies.nytimes.com/movie/review?res=9803e1da1f39f93ba35750c0a960958260">Archived</a> 2012-08-08 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li>McGilligan, Patrick (1997). Fritz Lang: The Nature of the Beast. New York and London: Faber and Faber. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-19375-2" title="Special:BookSources/978-0-571-19375-2">978-0-571-19375-2</a></li> <li><a href="/wiki/Eddie_Muller" title="Eddie Muller">Muller, Eddie</a> (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-312-18076-8" title="Special:BookSources/978-0-312-18076-8">978-0-312-18076-8</a></li> <li>Naremore, James (2008). More Than Night: Film Noir in Its Contexts, 2d ed. Berkeley, Los Angeles, and London: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-25402-2" title="Special:BookSources/978-0-520-25402-2">978-0-520-25402-2</a></li> <li>Neale, Steve (2000). Genre and Hollywood. London and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-02606-2" title="Special:BookSources/978-0-415-02606-2">978-0-415-02606-2</a></li> <li>Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940–1958. Metuchen, N.J., and London: Scarecrow Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8108-1363-2" title="Special:BookSources/978-0-8108-1363-2">978-0-8108-1363-2</a></li> <li>Palmer, R. Barton (2004). "The Sociological Turn of Adaptation Studies: The Example of Film Noir", in A Companion To Literature And Film, ed. Robert Stam and Alessandra Raengo, pp. 258–77. Maiden, Mass., Oxford, and Carlton, Australia: Blackwell. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-631-23053-3" title="Special:BookSources/978-0-631-23053-3">978-0-631-23053-3</a></li> <li>Place, Janey, and Lowell Peterson (1974). "Some Visual Motifs of Film Noir", Film Comment 10, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]).</li> <li>Porfirio, Robert (1980). "Stranger on the Third Floor (1940)", in Silver and Ward, Film Noir: An Encyclopedic Reference, p. 269.</li> <li>Ray, Robert B. (1985). A Certain Tendency of the Hollywood Cinema, 1930–1980. Princeton, N.J.: Princeton University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-691-10174-3" title="Special:BookSources/978-0-691-10174-3">978-0-691-10174-3</a></li> <li>Richardson, Carl (1992). Autopsy: An Element of Realism in Film Noir. Metuchen, N.J., and London: Scarecrow Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8108-2496-6" title="Special:BookSources/978-0-8108-2496-6">978-0-8108-2496-6</a></li> <li>Sanders, Steven M. (2006). "Film Noir and the Meaning of Life", in The Philosophy of Film Noir, ed. Mark T. Conard, pp. 91–106. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8131-9181-2" title="Special:BookSources/978-0-8131-9181-2">978-0-8131-9181-2</a></li> <li>Sarris, Andrew (1996 [1968]). The American Cinema: Directors and Directions, 1929–1968. Cambridge, Massachusetts: Da Capo. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-80728-2" title="Special:BookSources/978-0-306-80728-2">978-0-306-80728-2</a></li> <li>Schatz, Thomas (1981). Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: Random House. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-07-553623-9" title="Special:BookSources/978-0-07-553623-9">978-0-07-553623-9</a></li> <li>Schatz, Thomas (1998 [1996]). The Genius of the System: Hollywood Filmmaking in the Studio Era, new ed. London: Faber and Faber. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-19596-1" title="Special:BookSources/978-0-571-19596-1">978-0-571-19596-1</a></li> <li><a href="/wiki/Paul_Schrader" title="Paul Schrader">Schrader, Paul</a> (1972). "Notes on Film Noir", Film Comment 8, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]).</li> <li>Server, Lee (2002). Robert Mitchum: "Baby I Don't Care". New York: Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-312-28543-2" title="Special:BookSources/978-0-312-28543-2">978-0-312-28543-2</a></li> <li>Server, Lee (2006). Ava Gardner: "Love Is Nothing". New York: Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-312-31209-1" title="Special:BookSources/978-0-312-31209-1">978-0-312-31209-1</a></li> <li>Silver, Alain (1996 [1975]). "Kiss Me Deadly: Evidence of a Style", rev. versions in Silver and Ursini, Film Noir Reader [1], pp. 209–35 and Film Noir Compendium (newest with remastered frame captures, 2016), pp. 302–325.</li> <li>Silver, Alain (1996). "Introduction", in Silver and Ursini, Film Noir Reader [1], pp. 3–15, rev. ver. in Silver and Ursini, Film Noir Compendium (2016), pp. 10–25.</li> <li>Silver, Alain, and <a href="/wiki/James_Ursini" title="James Ursini">James Ursini</a> (and Robert Porfirio—vol. 3), eds. (2004 [1996–2004]). Film Noir Reader, vols. 1–4. Pompton Plains, N.J.: Limelight.</li> <li>Silver, Alain, and Elizabeth Ward (1992). Film Noir: An Encyclopedic Reference to the American Style, 3d ed. Woodstock, N.Y.: Overlook Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87951-479-2" title="Special:BookSources/978-0-87951-479-2">978-0-87951-479-2</a> (See also: Silver, Ursini, Ward, and Porfirio [2010]. Film Noir: The Encyclopedia, 4th rev., exp. ed. Overlook. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-59020-144-2" title="Special:BookSources/978-1-59020-144-2">978-1-59020-144-2</a>)</li> <li>Slocum, J. David (2001). Violence and American Cinema. London and New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-92810-6" title="Special:BookSources/978-0-415-92810-6">978-0-415-92810-6</a></li> <li>Spicer, Andrew (2007). European Film Noir. Manchester, UK: Manchester University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7190-6791-4" title="Special:BookSources/978-0-7190-6791-4">978-0-7190-6791-4</a></li> <li>Telotte, J. P. (1989). Voices in the Dark: The Narrative Patterns of Film Noir. Urbana and Chicago: University of Illinois Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-252-06056-4" title="Special:BookSources/978-0-252-06056-4">978-0-252-06056-4</a></li> <li>Thomson, David (1998). A Biographical Dictionary of Film, 3rd ed. New York: Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-679-75564-7" title="Special:BookSources/978-0-679-75564-7">978-0-679-75564-7</a></li> <li>Turan, Kenneth (2008). "UCLA's Pre-Code Series", Los Angeles Times, January 27 (available <a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-2008-jan-27-ca-precode27-story.html">online</a> ).</li> <li>Tuska, Jon (1984). Dark Cinema: American Film Noir in Cultural Perspective. Westport, Conn., and London: Greenwood. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-23045-5" title="Special:BookSources/978-0-313-23045-5">978-0-313-23045-5</a></li> <li>Tyree, J. M., and Ben Walters (2007). The Big Lebowski. London: BFI Publishing. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84457-173-4" title="Special:BookSources/978-1-84457-173-4">978-1-84457-173-4</a></li> <li>Ursini, James (1995). "Angst at Sixty Fields per Second", in Silver and Ursini, Film Noir Reader [1], pp. 275–87.</li> <li>"Variety staff" (anon.) (1940). "Stranger on the Third Floor" [review], Variety (excerpted <a rel="nofollow" class="external text" href="https://variety.com/1939/film/reviews/stranger-on-the-third-floor-1200413001/">online</a>).</li> <li>"Variety staff" (anon.) (1955). "Kiss Me Deadly" [review], Variety (excerpted <a rel="nofollow" class="external text" href="https://variety.com/1954/film/reviews/kiss-me-deadly-1200417889/">online</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180707173117/https://variety.com/1954/film/reviews/kiss-me-deadly-1200417889/">Archived</a> 2018-07-07 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</li> <li>Vernet, Marc (1993). "Film Noir on the Edge of Doom", in Copjec, Shades of Noir, pp. 1–31.</li> <li>Wager, Jans B. (2005). Dames in the Driver's Seat: Rereading Film Noir. Austin: University of Texas Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-292-70966-9" title="Special:BookSources/978-0-292-70966-9">978-0-292-70966-9</a></li> <li>Walker, Michael (1992). "Robert Siodmak", in Cameron, The Book of Film Noir, pp. 110–51.</li> <li>White, Dennis L. (1980). "Beast of the City (1932)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 16–17.</li> <li>Widdicombe, Toby (2001). A Reader's Guide to Raymond Chandler. Westport, Conn.: Greenwood. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-30767-6" title="Special:BookSources/978-0-313-30767-6">978-0-313-30767-6</a></li> <li>Williams, Linda Ruth (2005). The Erotic Thriller in Contemporary Cinema. Bloomington: Indiana University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-253-34713-8" title="Special:BookSources/978-0-253-34713-8">978-0-253-34713-8</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Suggested_reading">Suggested reading</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=28" title="Edit section: Suggested reading">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239549316" /><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li>Auerbach, Jonathan (2011). Film Noir and American Citizenship. Durham, N.C.: Duke University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8223-4993-8" title="Special:BookSources/978-0-8223-4993-8">978-0-8223-4993-8</a></li> <li>Chopra-Gant, Mike (2005). Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. London: IB Tauris. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85043-838-0" title="Special:BookSources/978-1-85043-838-0">978-1-85043-838-0</a></li> <li>Cochran, David (2000). America Noir: Underground Writers and Filmmakers of the Postwar Era. Washington, D.C.: Smithsonian Institution Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56098-813-7" title="Special:BookSources/978-1-56098-813-7">978-1-56098-813-7</a></li> <li>Dickos, Andrew (2002). Street with No Name: A History of the Classic American Film Noir. Lexington: University Press of Kentucky. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8131-2243-4" title="Special:BookSources/978-0-8131-2243-4">978-0-8131-2243-4</a></li> <li>Dimendberg, Edward (2004). Film Noir and the Spaces of Modernity. Cambridge, Massachusetts, and London: Harvard University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-674-01314-8" title="Special:BookSources/978-0-674-01314-8">978-0-674-01314-8</a></li> <li>Dixon, Wheeler Winston (2009). Film Noir and the Cinema of Paranoia. New Brunswick, N.J.: Rutgers University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8135-4521-9" title="Special:BookSources/978-0-8135-4521-9">978-0-8135-4521-9</a></li> <li>García Martín, J. H. (2018). La musicalización diegética de la crisis en el cine negro holliwodiense de los años 40. La música clásica como signo del conflicto. Área abierta, 18(3), 389-407. <a rel="nofollow" class="external free" href="https://doi.org/10.5209/ARAB.58492">https://doi.org/10.5209/ARAB.58492</a></li> <li>Grossman, Julie (2009). Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up. Basingstoke, UK: Palgrave Macmillan. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-230-23328-7" title="Special:BookSources/978-0-230-23328-7">978-0-230-23328-7</a></li> <li>Hannsberry, Karen Burroughs (1998). Femme Noir: Bad Girls of Film. Jefferson, N.C.: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-0429-2" title="Special:BookSources/978-0-7864-0429-2">978-0-7864-0429-2</a></li> <li>Hannsberry, Karen Burroughs (2003). Bad Boys: The Actors of Film Noir. Jefferson, N.C.: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-1484-0" title="Special:BookSources/978-0-7864-1484-0">978-0-7864-1484-0</a></li> <li>Hare, William (2003). Early Film Noir: Greed, Lust, and Murder Hollywood Style. Jefferson, N.C.: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-1629-5" title="Special:BookSources/978-0-7864-1629-5">978-0-7864-1629-5</a></li> <li>Hogan, David J. (2013). Film Noir FAQ. Milwaukee, WI: Hal Leonard. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55783-855-1" title="Special:BookSources/978-1-55783-855-1">978-1-55783-855-1</a></li> <li>Kaplan, E. Ann, ed. (1998). Women in Film Noir, new ed. London: British Film Institute. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-85170-666-5" title="Special:BookSources/978-0-85170-666-5">978-0-85170-666-5</a></li> <li>Keaney, Michael F. (2003). Film Noir Guide: 745 Films of the Classic Era, 1940–1959. Jefferson, N.C.: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-1547-2" title="Special:BookSources/978-0-7864-1547-2">978-0-7864-1547-2</a></li> <li>Mason, Fran (2002). American Gangster Cinema: From Little Caesar to Pulp Fiction. Houndmills, UK: Palgrave. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-333-67452-9" title="Special:BookSources/978-0-333-67452-9">978-0-333-67452-9</a></li> <li>Mayer, Geoff, and Brian McDonnell (2007). Encyclopedia of Film Noir. Westport, Conn.: Greenwood. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-33306-4" title="Special:BookSources/978-0-313-33306-4">978-0-313-33306-4</a></li> <li>McArthur, Colin (1972). Underworld U.S.A. New York: Viking. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-670-01953-3" title="Special:BookSources/978-0-670-01953-3">978-0-670-01953-3</a></li> <li>Naremore, James (2019). Film Noir: A Very Short Introduction. Oxford: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-879174-4" title="Special:BookSources/978-0-19-879174-4">978-0-19-879174-4</a></li> <li>Osteen, Mark. Nightmare Alley: Film Noir and the American Dream (Johns Hopkins University Press; 2013) 336 pages; interprets film noir as a genre that challenges the American mythology of upward mobility and self-reinvention.</li> <li>Palmer, R. Barton (1994). Hollywood's Dark Cinema: The American Film Noir. New York: Twayne. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8057-9335-2" title="Special:BookSources/978-0-8057-9335-2">978-0-8057-9335-2</a></li> <li>Palmer, R. Barton, ed. (1996). Perspectives on Film Noir. New York: G.K. Hall. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8161-1601-0" title="Special:BookSources/978-0-8161-1601-0">978-0-8161-1601-0</a></li> <li>Pappas, Charles (2005). It's a Bitter Little World: The Smartest, Toughest, Nastiest Quotes from Film Noir. Iola, Wisc.: Writer's Digest Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58297-387-6" title="Special:BookSources/978-1-58297-387-6">978-1-58297-387-6</a></li> <li>Rabinowitz, Paula (2002). Black & White & Noir: America's Pulp Modernism. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-231-11481-3" title="Special:BookSources/978-0-231-11481-3">978-0-231-11481-3</a></li> <li>Schatz, Thomas (1997). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-684-19151-5" title="Special:BookSources/978-0-684-19151-5">978-0-684-19151-5</a></li> <li>Selby, Spencer (1984). Dark City: The Film Noir. Jefferson, N.C.: McFarland. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-89950-103-1" title="Special:BookSources/978-0-89950-103-1">978-0-89950-103-1</a></li> <li>Shadoian, Jack (2003). Dreams and Dead Ends: The American Gangster Film, 2d ed. Oxford and New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-514291-4" title="Special:BookSources/978-0-19-514291-4">978-0-19-514291-4</a></li> <li>Silver, Alain, and James Ursini (1999). The Noir Style. Woodstock, N.Y.: Overlook Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87951-722-9" title="Special:BookSources/978-0-87951-722-9">978-0-87951-722-9</a></li> <li>Silver, Alain, and James Ursini (2016). Film Noir Compendium. Milwaukee, WI: Applause. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-49505-898-1" title="Special:BookSources/978-1-49505-898-1">978-1-49505-898-1</a></li> <li>Spicer, Andrew (2002). Film Noir. Harlow, UK: Pearson Education. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-582-43712-8" title="Special:BookSources/978-0-582-43712-8">978-0-582-43712-8</a></li> <li>Starman, Ray (2006). TV Noir: the 20th Century. Troy, N.Y.: The Troy Bookmakers Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-933994-22-2" title="Special:BookSources/978-1-933994-22-2">978-1-933994-22-2</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Suggested_listening">Suggested listening</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=29" title="Edit section: Suggested listening">edit</a>]</div> <ul><li>Murder is My Beat: Classic Film Noir Themes and Scenes (1997, Rhino Movie Music) – 18-track audio CD</li> <li>Maltese Falcons, Third Men & Touches of Evil-The Sound of Film Noir 1941–1950 (2019, Jasmine Records [UK]) – 42-track audio CD</li> <li>Film Noir: Six Classic Soundtracks (2016, Real Gone Jazz [UK]) – 57 tracks on 4 audio CDs</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Film_noir&action=edit&section=30" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235611614">.mw-parser-output .spoken-wikipedia{border:1px solid #a2a9b1;background-color:var(--background-color-interactive-subtle,#f8f9fa);margin:0.5em 0;padding:0.2em;line-height:1.5em;font-size:90%}.mw-parser-output .spoken-wikipedia-header{text-align:center}.mw-parser-output .spoken-wikipedia-listen-to{font-weight:bold}.mw-parser-output .spoken-wikipedia-files{text-align:center;margin-top:10px;margin-bottom:0.4em}.mw-parser-output .spoken-wikipedia-icon{float:left;margin-left:5px;margin-top:10px}.mw-parser-output .spoken-wikipedia-disclaimer{margin-left:60px;margin-top:10px;font-size:95%;line-height:1.4em}.mw-parser-output .spoken-wikipedia-footer{margin-top:10px;text-align:center}@media(min-width:720px){.mw-parser-output .spoken-wikipedia{width:20em;float:right;clear:right;margin-left:1em}}</style><div class="spoken-wikipedia noprint haudio"><div class="spoken-wikipedia-header">Listen to this article (1 hour and 5 minutes)</div><div class="spoken-wikipedia-files"><figure class="mw-halign-center" typeof="mw:File"><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="200" style="width:200px;" data-durationhint="3887" data-mwtitle="Film_Noir.ogg" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/f/fa/Film_Noir.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/f/fa/Film_Noir.ogg/Film_Noir.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio><figcaption></figcaption></figure> </div><div class="spoken-wikipedia-icon"><img alt="Spoken Wikipedia icon" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/45px-Sound-icon.svg.png" decoding="async" width="45" height="34" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/68px-Sound-icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/90px-Sound-icon.svg.png 2x" data-file-width="128" data-file-height="96" /></div><div class="spoken-wikipedia-disclaimer"><a href="/wiki/File:Film_Noir.ogg" title="File:Film Noir.ogg">This audio file</a> was created from a revision of this article dated 26 July 2019 (2019-7-26), and does not reflect subsequent edits.</div><div class="spoken-wikipedia-footer">(<a href="/wiki/Wikipedia:Media_help" class="mw-redirect" title="Wikipedia:Media help">Audio help</a> · <a href="/wiki/Wikipedia:Spoken_articles" title="Wikipedia:Spoken articles">More spoken articles</a>)</div></div> <ul><li><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/20px-Commons-logo.svg.png" decoding="async" width="12" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/40px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a> Media related to <a href="https://commons.wikimedia.org/wiki/Category:Film_noir" class="extiw" title="commons:Category:Film noir">Film noir</a> at Wikimedia Commons</li> <li><a rel="nofollow" class="external text" href="http://www.lib.berkeley.edu/MRC/Noirbib.html">Film Noir: A Bibliography of Materials</a> and <a rel="nofollow" class="external text" href="http://www.lib.berkeley.edu/MRC/Noirfilm.html">Film Videography</a> holdings of the <a href="/wiki/UC_Berkeley" class="mw-redirect" title="UC Berkeley">UC Berkeley</a> Library</li> <li><a rel="nofollow" class="external text" href="http://www.imagesjournal.com/issue02/infocus/filmnoir.htm">Film Noir: An Introduction</a> essay with links to discussions of ten important noirs; part of Images: A Journal of Film and Popular Culture</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080701164215/http://www.filmnoirstudies.com/home.asp">Film Noir Studies</a> writings by John Blaser, with film noir glossary, timeline, and noir-related media</li> <li><a rel="nofollow" class="external text" href="http://alainsilver.vacau.com/noirkmd/noirkmd1.htm">Kiss Me Deadly: Evidence of A Style (part 1)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190212011714/http://alainsilver.vacau.com/noirkmd/noirkmd1.htm">Archived</a> 2019-02-12 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> unrevised online version of essay by <a href="/wiki/Alain_Silver" title="Alain Silver">Alain Silver</a> in three parts: <a rel="nofollow" class="external text" href="http://alainsilver.vacau.com/noirkmd/noirkmd2.htm">(2)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190212011716/http://alainsilver.vacau.com/noirkmd/noirkmd2.htm">Archived</a> 2019-02-12 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> and <a rel="nofollow" class="external text" href="http://alainsilver.vacau.com/noirkmd/noirkmd.htm">(3)</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190212011821/http://alainsilver.vacau.com/noirkmd/noirkmd.htm">Archived</a> 2019-02-12 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19950130/COMMENTARY/11010314/1023">A Guide to Film Noir Genre</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130120234128/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19950130%2FCOMMENTARY%2F11010314%2F1023">Archived</a> 2013-01-20 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> ten deadeye bullet points from <a href="/wiki/Roger_Ebert" title="Roger Ebert">Roger Ebert</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20060803235034/http://www.crimeculture.com/Contents/NeoNoir.html">An Introduction to Neo-Noir</a> essay by <a href="/wiki/Lee_Horsley" title="Lee Horsley">Lee Horsley</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20061007085926/http://www.crimeculture.com/Contents/Noir%20Thriller%20Intro.html">The Noir Thriller: Introduction</a> excerpt from 2001 book by Lee Horsley</li> <li><a rel="nofollow" class="external text" href="http://alainsilver.vacau.com/screenie/Queen/noir2.htm">What Is This Thing Called Noir?: Parts I, II</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304070818/http://alainsilver.vacau.com/screenie/Queen/noir2.htm">Archived</a> 2016-03-04 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> and <a rel="nofollow" class="external text" href="http://alainsilver.vacau.com/screenie/Queen/noir.htm">III</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304081706/http://alainsilver.vacau.com/screenie/Queen/noir.htm">Archived</a> 2016-03-04 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> essay by <a href="/wiki/Alain_Silver" title="Alain Silver">Alain Silver</a> and <a href="/wiki/Linda_Brookover" title="Linda Brookover">Linda Brookover</a></li> <li><a rel="nofollow" class="external text" href="http://arthurlyonsfilmnoir.ning.com/">Arthur Lyons Film Noir Festival</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120926183713/http://arthurlyonsfilmnoir.ning.com/">Archived</a> 2012-09-26 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, co-sponsored by the <a href="/wiki/Palm_Springs,_California" title="Palm Springs, California">Palm Springs</a> <a rel="nofollow" class="external text" href="http://thepalmspringsculturalcenter.org/">Cultural Center</a></li> <li><a rel="nofollow" class="external text" href="https://www.criterion.com/shop/collection/17-noir-and-neonoir">Noir and Neonoir | The Criterion Collection</a></li> <li><a rel="nofollow" class="external text" href="https://mubi.com/notebook/posts/notebook-primer-film-noir">Notebook Primer: Film Noir</a></li> <li><a rel="nofollow" class="external text" href="https://exchange.umma.umich.edu/resources/23715">Collection: "Film Noir, Visuality and Themes"</a> from the <a href="/wiki/University_of_Michigan_Museum_of_Art" title="University of Michigan Museum of Art">University of Michigan Museum of Art</a></li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Detective,_mystery,_and_crime_fiction104" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Crime_fiction" title="Template:Crime fiction"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Crime_fiction" title="Template talk:Crime fiction"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Crime_fiction" title="Special:EditPage/Template:Crime fiction"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Detective,_mystery,_and_crime_fiction104" style="font-size:114%;margin:0 4em"><a href="/wiki/Detective_fiction" title="Detective fiction">Detective</a>, <a href="/wiki/Mystery_fiction" title="Mystery fiction">mystery</a>, and <a href="/wiki/Crime_fiction" title="Crime fiction">crime fiction</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">General info</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/History_of_crime_fiction" title="History of crime fiction">History of crime fiction</a></li> <li><a href="/wiki/List_of_crime_writers" title="List of crime writers">Crime writers</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Subgenres</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Theme</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Caper_story" title="Caper story">Caper</a></li> <li><a href="/wiki/Detective_fiction" title="Detective fiction">Detective</a> <ul><li><a href="/wiki/Closed_circle_of_suspects" title="Closed circle of suspects">Closed circle</a></li> <li><a href="/wiki/Girl_detective_(genre)" class="mw-redirect" title="Girl detective (genre)">girl</a></li> <li><a href="/wiki/Occult_detective_fiction" title="Occult detective fiction">occult</a></li> <li><a href="/wiki/Weird_menace" title="Weird menace">Weird menace</a></li></ul></li> <li><a href="/wiki/Giallo" title="Giallo">Giallo</a></li> <li><a href="/wiki/Gong%27an_fiction" title="Gong'an fiction">Gong'an</a></li> <li><a href="/wiki/Hardboiled" title="Hardboiled">Hardboiled</a></li> <li><a href="/wiki/Inverted_detective_story" title="Inverted detective story">Inverted detective story</a></li> <li><a href="/wiki/Legal_drama" title="Legal drama">Legal drama</a> <ul><li><a href="/wiki/Legal_thriller" title="Legal thriller">thriller</a></li></ul></li> <li><a href="/wiki/Mystery_fiction" title="Mystery fiction">Mystery</a> <ul><li><a href="/wiki/Cozy_mystery" title="Cozy mystery">cozy</a></li> <li><a href="/wiki/Locked-room_mystery" title="Locked-room mystery">locked room</a></li></ul></li> <li><a href="/wiki/Noir_fiction" title="Noir fiction">Noir</a></li> <li><a href="/wiki/Nordic_noir" title="Nordic noir">Nordic</a></li> <li><a href="/wiki/Spy_fiction" title="Spy fiction">Spy</a></li> <li><a href="/wiki/Spy-Fi_(subgenre)" class="mw-redirect" title="Spy-Fi (subgenre)">Spy-Fi</a></li> <li><a href="/wiki/Tartan_Noir" title="Tartan Noir">Tartan Noir</a></li> <li><a href="/wiki/Tart_Noir" title="Tart Noir">Tart Noir</a></li> <li><a href="/wiki/Thriller_(genre)" title="Thriller (genre)">Thriller</a></li> <li><a href="/wiki/Whodunit" title="Whodunit">Whodunit</a> <ul><li><a href="/wiki/Historical_mystery" title="Historical mystery">historical mystery</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Film and television</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Police_procedural" title="Police procedural">Police procedural</a></li> <li><a href="/wiki/Procedural_drama" title="Procedural drama">Procedural drama</a></li> <li><a href="/wiki/Heist_film" title="Heist film">Heist</a></li> <li><a href="/wiki/Mystery_film" title="Mystery film">Mystery</a></li> <li><a class="mw-selflink selflink">Noir</a></li> <li><a href="/wiki/Neo-noir" title="Neo-noir">Neo-noir</a></li> <li><a href="/wiki/Trial_film" title="Trial film">Trial</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Character</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Fictional_detectives" class="mw-redirect" title="Fictional detectives">Fictional detectives</a> <ul><li><a href="/wiki/List_of_male_detective_characters" title="List of male detective characters">male</a></li> <li><a href="/wiki/List_of_female_detective_characters" title="List of female detective characters">female</a></li> <li><a href="/wiki/List_of_fictional_police_detectives" title="List of fictional police detectives">police</a></li> <li><a href="/wiki/List_of_fictional_private_investigators" title="List of fictional private investigators">private</a></li> <li><a href="/wiki/List_of_fictional_historical_detectives" class="mw-redirect" title="List of fictional historical detectives">historical</a></li> <li><a href="/wiki/List_of_fictional_detective_teams" title="List of fictional detective teams">teams</a></li> <li><a href="/wiki/List_of_science_fiction_and_fantasy_detectives" title="List of science fiction and fantasy detectives">science fiction and fantasy</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Film_genres257" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Film_genres" title="Template:Film genres"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Film_genres" title="Template talk:Film genres"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Film_genres" title="Special:EditPage/Template:Film genres"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Film_genres257" style="font-size:114%;margin:0 4em"><a href="/wiki/Film" title="Film">Film</a> <a href="/wiki/Film_genre" title="Film genre">genres</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">By style</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Action_film" title="Action film">Action</a> <ul><li><a href="/wiki/Heroic_bloodshed" title="Heroic bloodshed">Heroic bloodshed</a></li> <li><a href="/wiki/Hong_Kong_action_cinema" title="Hong Kong action cinema">Hong Kong action</a></li></ul></li> <li><a href="/wiki/Adventure_film" title="Adventure film">Adventure</a></li> <li><a href="/wiki/Art_film" title="Art film">Art</a></li> <li><a href="/wiki/Biographical_film" title="Biographical film">Biographical</a></li> <li><a href="/wiki/Christian_film_industry" title="Christian film industry">Christian</a></li> <li><a href="/wiki/Comedy_film" title="Comedy film">Comedy</a> <ul><li><a href="/wiki/Action_comedy" title="Action comedy">Action</a></li> <li><a href="/wiki/Black_comedy" title="Black comedy">Black</a></li> <li><a href="/wiki/Commedia_all%27italiana" title="Commedia all'italiana">Commedia all'italiana</a> <ul><li><a href="/wiki/Commedia_sexy_all%27italiana" title="Commedia sexy all'italiana">Sexy</a></li></ul></li> <li><a href="/wiki/Comedy_drama" title="Comedy drama">Dramedy</a></li> <li><a href="/wiki/Gross_out" title="Gross out">Gross out</a></li> <li><a href="/wiki/Comedy_horror" title="Comedy horror">Horror</a></li> <li><a href="/wiki/Parody_film" title="Parody film">Parody</a></li> <li><a href="/wiki/Mo_lei_tau" title="Mo lei tau">Mo lei tau</a></li> <li><a href="/wiki/Thriller_(genre)" title="Thriller (genre)">Thriller</a></li> <li><a href="/wiki/Comedy_of_remarriage" title="Comedy of remarriage">Remarriage</a></li> <li><a href="/wiki/Romantic_comedy" title="Romantic comedy">Romantic</a></li> <li><a href="/wiki/Sex_comedy" title="Sex comedy">Sex</a></li> <li><a href="/wiki/Screwball_comedy" title="Screwball comedy">Screwball</a></li> <li><a href="/wiki/Silent_comedy" title="Silent comedy">Silent</a></li> <li><a href="/wiki/Slapstick_film" title="Slapstick film">Slapstick</a></li></ul></li> <li><a href="/wiki/Cyberpunk" title="Cyberpunk">Cyberpunk</a> <ul><li><a href="/wiki/Japanese_cyberpunk" title="Japanese cyberpunk">Japanese</a></li></ul></li> <li><a href="/wiki/Documentary_film" title="Documentary film">Documentary</a> <ul><li><a href="/wiki/Animated_documentary" title="Animated documentary">Animated</a></li> <li><a href="/wiki/City_symphony" title="City symphony">City symphony</a></li> <li><a href="/wiki/Docudrama" title="Docudrama">Docudrama</a></li> <li><a href="/wiki/Mockumentary" title="Mockumentary">Mockumentary</a></li> <li><a href="/wiki/Mondo_film" title="Mondo film">Mondo</a></li> <li><a href="/wiki/Pseudo-documentary" title="Pseudo-documentary">Pseudo</a></li> <li><a href="/wiki/Semidocumentary" title="Semidocumentary">Semi</a></li> <li><a href="/wiki/Travel_documentary" title="Travel documentary">Travel</a></li> <li><a href="/wiki/Video_essay" title="Video essay">Video essay</a></li></ul></li> <li><a href="/wiki/Drama_(film_and_television)" title="Drama (film and television)">Drama</a> <ul><li><a href="/wiki/Calligrafismo" title="Calligrafismo">Calligrafismo</a></li> <li><a href="/wiki/Comedy_drama" title="Comedy drama">Dramedy</a></li> <li><a href="/wiki/Historical_drama" title="Historical drama">Historical</a></li> <li><a href="/wiki/Legal_drama" title="Legal drama">Legal</a></li></ul></li> <li><a href="/wiki/Sex_in_film" title="Sex in film">Erotic</a> <ul><li><a href="/wiki/Commedia_sexy_all%27italiana" title="Commedia sexy all'italiana">Commedia sexy all'italiana</a></li> <li><a href="/wiki/Pink_film" title="Pink film">Pink</a></li> <li><a href="/wiki/Sexploitation_film" title="Sexploitation film">Sexploitation</a></li> <li><a href="/wiki/Erotic_thriller" title="Erotic thriller">Thriller</a></li></ul></li> <li><a href="/wiki/Educational_film" title="Educational film">Educational</a></li> <li><a href="/wiki/Social_guidance_film" title="Social guidance film">Social guidance</a></li> <li><a href="/wiki/Epic_film" title="Epic film">Epic</a> <ul><li><a href="/wiki/Sword-and-sandal" title="Sword-and-sandal">Sword-and-sandal</a></li></ul></li> <li><a href="/wiki/Experimental_film" title="Experimental film">Experimental</a></li> <li><a href="/wiki/Exploitation_film" title="Exploitation film">Exploitation</a> <ul><li><a href="/wiki/Template:Exploitation_film" title="Template:Exploitation film">see Exploitation film template</a></li></ul></li> <li><a href="/wiki/Fantasy_film" title="Fantasy film">Fantasy</a> <ul><li><a href="/wiki/Fantasy_comedy" title="Fantasy comedy">Comedy</a></li> <li><a href="/wiki/Contemporary_fantasy" title="Contemporary fantasy">Contemporary</a></li> <li><a href="/wiki/Fantastique" title="Fantastique">Fantastique</a></li> <li><a href="/wiki/High_fantasy" title="High fantasy">High</a></li> <li><a href="/wiki/Historical_fantasy" title="Historical fantasy">Historical</a></li> <li><a href="/wiki/Magic_realism" class="mw-redirect" title="Magic realism">Magic realism</a></li> <li><a href="/wiki/Science_fantasy" title="Science fantasy">Science</a></li></ul></li> <li><a class="mw-selflink selflink">Film noir</a> <ul><li><a href="/wiki/Neo-noir" title="Neo-noir">Neo-noir</a></li> <li><a href="/wiki/Pulp_noir" title="Pulp noir">Pulp noir</a></li> <li><a href="/wiki/Tech_noir" title="Tech noir">Tech noir</a></li></ul></li> <li><a href="/wiki/Gothic_film" title="Gothic film">Gothic</a> <ul><li><a href="/wiki/Gothic_romance_film" title="Gothic romance film">Romance</a></li> <li><a href="/wiki/Southern_Gothic" title="Southern Gothic">Southern</a></li> <li><a href="/wiki/Gothic_science_fiction" class="mw-redirect" title="Gothic science fiction">Space</a></li> <li><a href="/wiki/Suburban_Gothic" title="Suburban Gothic">Suburban</a></li> <li><a href="/wiki/Urban_Gothic" title="Urban Gothic">Urban</a></li></ul></li> <li><a href="/wiki/Horror_film" title="Horror film">Horror</a> <ul><li><a href="/wiki/Art_horror" title="Art horror">Arthouse</a></li> <li><a href="/wiki/List_of_body_horror_media" title="List of body horror media">Body</a></li> <li><a href="/wiki/Cannibal_film" title="Cannibal film">Cannibal</a></li> <li><a href="/wiki/Chinese_horror_film" title="Chinese horror film">Chinese horror</a></li> <li><a href="/wiki/Christmas_horror" title="Christmas horror">Christmas horror</a></li> <li><a href="/wiki/Comedy_horror" title="Comedy horror">Comedy</a></li> <li><a href="/wiki/List_of_eco-horror_films" title="List of eco-horror films">Eco</a></li> <li><a href="/wiki/Fantastique" title="Fantastique">Fantastique</a></li> <li><a href="/wiki/Found_footage_(film_technique)" title="Found footage (film technique)">Found footage</a></li> <li><a href="/wiki/German_underground_horror" title="German underground horror">German underground</a></li> <li><a href="/wiki/List_of_ghost_films" title="List of ghost films">Ghost</a></li> <li><a href="/wiki/Giallo" title="Giallo">Giallo</a> <ul><li><a href="/wiki/List_of_giallo_films" title="List of giallo films">List of films</a></li></ul></li> <li><a href="/wiki/List_of_holiday_horror_films" title="List of holiday horror films">Holiday</a></li> <li><a href="/wiki/Japanese_horror" title="Japanese horror">Japanese horror</a></li> <li><a href="/wiki/Korean_horror" title="Korean horror">Korean horror</a></li> <li><a href="/wiki/Lovecraftian_horror" title="Lovecraftian horror">Lovecraftian</a></li> <li><a href="/wiki/Melodrama_film" class="mw-redirect" title="Melodrama film">Melodrama</a> <ul><li><a href="/wiki/Korean_melodrama" title="Korean melodrama">Korean</a></li></ul></li> <li><a href="/wiki/List_of_natural_horror_films" title="List of natural horror films">Natural</a></li> <li><a href="/wiki/New_Extremity" class="mw-redirect" title="New Extremity">New French Extremity</a></li> <li><a href="/wiki/Gender_in_horror_films" title="Gender in horror films">Psycho-biddy</a></li> <li><a href="/wiki/Psychological_horror" title="Psychological horror">Psychological</a></li> <li><a href="/wiki/List_of_science_fiction_horror_films" title="List of science fiction horror films">Science fiction</a></li> <li><a href="/wiki/Slasher_film" title="Slasher film">Slasher</a></li> <li><a href="/wiki/Splatter_film" title="Splatter film">Splatter</a></li> <li><a href="/wiki/Satanic_film" title="Satanic film">Satanic</a></li></ul></li> <li><a href="/wiki/Maximalist_film" title="Maximalist film">Maximalist film</a></li> <li><a href="/wiki/Minimalist_film" title="Minimalist film">Minimalist film</a></li> <li><a href="/wiki/Mumblecore" title="Mumblecore">Mumblecore</a></li> <li><a href="/wiki/Musical_film" title="Musical film">Musical</a> <ul><li><a href="/wiki/Arthouse_musical" title="Arthouse musical">Arthouse</a></li> <li><a href="/wiki/Backstage_musical" title="Backstage musical">Backstage</a></li> <li><a href="/wiki/Jukebox_musical" title="Jukebox musical">Jukebox</a></li> <li><a href="/wiki/Musicarello" title="Musicarello">Musicarello</a></li> <li><a href="/wiki/Operetta_film" title="Operetta film">Operetta</a></li> <li><a href="/wiki/Sceneggiata" title="Sceneggiata">Sceneggiata</a></li></ul></li> <li><a href="/wiki/Mystery_film" title="Mystery film">Mystery</a> <ul><li><a href="/wiki/Detective_fiction" title="Detective fiction">Detective</a> <ul><li><a href="/wiki/Occult_detective_fiction" title="Occult detective fiction">Occult detective</a></li> <li><a href="/wiki/Whodunit" title="Whodunit">Whodunit</a></li></ul></li> <li><a href="/wiki/Giallo" title="Giallo">Giallo</a></li></ul></li> <li><a href="/wiki/Crossover_fiction" class="mw-redirect" title="Crossover fiction">Crossover</a></li> <li><a href="/wiki/Pornographic_film" title="Pornographic film">Pornographic</a> <ul><li><a href="/wiki/Hardcore_pornography" title="Hardcore pornography">Hardcore pornography</a></li> <li><a href="/wiki/Softcore_pornography" title="Softcore pornography">Softcore pornography</a></li> <li>(<a href="/wiki/Malayalam_softcore_pornography" title="Malayalam softcore pornography">Malayalam</a>)</li></ul></li> <li><a href="/wiki/Propaganda_film" title="Propaganda film">Propaganda</a></li> <li><a href="/wiki/Reality_film" title="Reality film">Reality</a></li> <li><a href="/wiki/Romance_film" title="Romance film">Romantic</a> <ul><li><a href="/wiki/Romantic_comedy" title="Romantic comedy">Comedy</a> <ul><li><a href="/wiki/Bromantic_comedy" title="Bromantic comedy">Bromantic</a></li></ul></li> <li><a href="/wiki/Romantic_fantasy" title="Romantic fantasy">Fantasy</a></li> <li><a href="/wiki/Gothic_romance_film" title="Gothic romance film">Gothic</a></li> <li><a href="/wiki/Paranormal_romance" title="Paranormal romance">Paranormal</a></li> <li><a href="/wiki/Romantic_thriller" title="Romantic thriller">Thriller</a></li></ul></li> <li><a href="/wiki/Science_fiction_film" title="Science fiction film">Science fiction</a> <ul><li><a href="/wiki/Arthouse_science_fiction_film" title="Arthouse science fiction film">Art</a></li> <li><a href="/wiki/Science_fiction_comedy" title="Science fiction comedy">Comedy</a></li> <li><a href="/wiki/Fantastique" title="Fantastique">Fantastique</a></li> <li><a href="/wiki/Science_fantasy" title="Science fantasy">Fantasy</a></li> <li><a href="/wiki/Gothic_science_fiction" class="mw-redirect" title="Gothic science fiction">Gothic</a></li> <li><a href="/wiki/List_of_science_fiction_horror_films" title="List of science fiction horror films">Horror</a></li> <li><a href="/wiki/Military_science_fiction" title="Military science fiction">Military</a></li> <li><a href="/wiki/New_Wave_science_fiction" class="mw-redirect" title="New Wave science fiction">New Wave</a></li> <li><a href="/wiki/Space_opera" title="Space opera">Space opera</a></li> <li><a href="/wiki/Steampunk" title="Steampunk">Steampunk</a></li> <li><a href="/wiki/Tokusatsu" title="Tokusatsu">Tokusatsu</a></li> <li><a href="/wiki/Space_Western" title="Space Western">Western</a></li></ul></li> <li><a href="/wiki/Slice_of_life" title="Slice of life">Slice of life</a></li> <li><a href="/wiki/Slow_cinema" title="Slow cinema">Slow cinema</a></li> <li><a href="/wiki/Survival_film" title="Survival film">Survival</a></li> <li><a href="/wiki/Thriller_film" title="Thriller film">Thriller</a> <ul><li><a href="/wiki/Comedy_thriller" title="Comedy thriller">Comedy</a></li> <li><a href="/wiki/Erotic_thriller" title="Erotic thriller">Erotic</a></li> <li><a href="/wiki/Financial_thriller" title="Financial thriller">Financial</a></li> <li><a href="/wiki/Giallo" title="Giallo">Giallo</a></li> <li><a href="/wiki/Legal_thriller" title="Legal thriller">Legal</a></li> <li><a href="/wiki/New_Extremity" class="mw-redirect" title="New Extremity">New French Extremity</a></li> <li><a href="/wiki/Political_thriller" title="Political thriller">Political</a></li> <li><a href="/wiki/Psychological_thriller" title="Psychological thriller">Psychological</a></li> <li><a href="/wiki/Romantic_thriller" title="Romantic thriller">Romantic</a></li> <li><a href="/wiki/Techno-thriller" title="Techno-thriller">Techno</a></li></ul></li> <li><a href="/wiki/Transgressive_art" title="Transgressive art">Transgressive</a> <ul><li><a href="/wiki/Cinema_of_Transgression" title="Cinema of Transgression">Cinema of Transgression</a></li> <li><a href="/wiki/Extreme_cinema" title="Extreme cinema">Extreme cinema</a></li> <li><a href="/wiki/New_Extremity" class="mw-redirect" title="New Extremity">New French Extremity</a></li></ul></li> <li><a href="/wiki/Trick_film" title="Trick film">Trick</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By theme</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_films_about_animals" title="List of films about animals">Animals</a></li> <li><a href="/wiki/Beach_party_film" title="Beach party film">Beach party</a></li> <li><a href="/wiki/Body_swap" title="Body swap">Body swap</a></li> <li><a href="/wiki/Buddy_film" title="Buddy film">Buddy</a> <ul><li><a href="/wiki/Buddy_cop" title="Buddy cop">Buddy cop</a></li> <li><a href="/wiki/Female_buddy_film" title="Female buddy film">Female</a></li></ul></li> <li><a href="/wiki/Cannibal_film" title="Cannibal film">Cannibal</a></li> <li><a href="/wiki/List_of_Chicano_films" title="List of Chicano films">Chicano</a></li> <li><a href="/wiki/Colonial_cinema" title="Colonial cinema">Colonial</a></li> <li><a href="/wiki/Coming-of-age_story" title="Coming-of-age story">Coming-of-age</a></li> <li><a href="/wiki/Concert_film" title="Concert film">Concert</a></li> <li><a href="/wiki/Crime_film" title="Crime film">Crime</a> <ul><li><a href="/wiki/Detective_fiction" title="Detective fiction">Detective</a></li> <li><a href="/wiki/Gangster_film" title="Gangster film">Gangster</a></li> <li><a href="/wiki/Gentleman_thief" title="Gentleman thief">Gentleman thief</a></li> <li><a href="/wiki/Gokud%C5%8D" title="Gokudō">Gokudō</a></li> <li><a href="/wiki/Gong%27an_fiction" title="Gong'an fiction">Gong'an</a></li> <li><a href="/wiki/Heist_film" title="Heist film">Heist</a></li> <li><a href="/wiki/Heroic_bloodshed" title="Heroic bloodshed">Heroic bloodshed</a></li> <li><a href="/wiki/Hood_film" title="Hood film">Hood</a></li> <li><a href="/wiki/Mafia_film" title="Mafia film">Mafia</a></li> <li><a href="/wiki/Mafia_comedy_film" title="Mafia comedy film">Mafia comedy</a></li> <li><a href="/wiki/Mumbai_underworld_film" class="mw-redirect" title="Mumbai underworld film">Mumbai underworld</a></li> <li><a href="/wiki/Poliziotteschi" title="Poliziotteschi">Poliziotteschi</a></li> <li><a href="/wiki/Yakuza_film" title="Yakuza film">Yakuza</a></li></ul></li> <li><a href="/wiki/Dance_in_film" title="Dance in film">Dance</a></li> <li><a href="/wiki/Disaster_film" title="Disaster film">Disaster</a> <ul><li><a href="/wiki/List_of_apocalyptic_films" title="List of apocalyptic films">Apocalyptic</a></li></ul></li> <li><a href="/wiki/List_of_drug_films" title="List of drug films">Drug</a> <ul><li><a href="/wiki/Psychedelic_film" title="Psychedelic film">Psychedelic</a></li> <li><a href="/wiki/Stoner_film" title="Stoner film">Stoner</a></li></ul></li> <li><a href="/wiki/List_of_dystopian_films" title="List of dystopian films">Dystopian</a></li> <li><a href="/wiki/Ecchi" title="Ecchi">Ecchi</a></li> <li><a href="/wiki/Ethnographic_film" title="Ethnographic film">Ethnographic</a></li> <li><a href="/wiki/Exploitation_film" title="Exploitation film">Exploitation</a> <ul><li><a href="/wiki/Blaxploitation" title="Blaxploitation">Blaxploitation</a></li> <li><a href="/wiki/Mexploitation" title="Mexploitation">Mexploitation</a></li> <li><a href="/wiki/Turksploitation" title="Turksploitation">Turksploitation</a></li></ul></li> <li><a href="/wiki/List_of_films_featuring_extraterrestrials" title="List of films featuring extraterrestrials">Extraterrestrial</a></li> <li><a href="/wiki/List_of_films_about_food_and_drink" title="List of films about food and drink">Food and drink</a></li> <li><a href="/wiki/Gendai-geki" title="Gendai-geki">Gendai-geki</a></li> <li><a href="/wiki/List_of_ghost_films" title="List of ghost films">Ghost</a></li> <li><a href="/wiki/Goona-goona_epic" title="Goona-goona epic">Goona-goona epic</a></li> <li><a href="/wiki/Gothic_film" title="Gothic film">Gothic</a> <ul><li><a href="/wiki/Gothic_romance_film" title="Gothic romance film">Romance</a></li> <li><a href="/wiki/Gothic_science_fiction" class="mw-redirect" title="Gothic science fiction">Space</a></li> <li><a href="/wiki/Suburban_Gothic" title="Suburban Gothic">Suburban</a></li></ul></li> <li><a href="/wiki/Girls_with_guns" title="Girls with guns">Girls with guns</a></li> <li><a href="/wiki/Harem_(genre)" title="Harem (genre)">Harem</a></li> <li><a href="/wiki/Hentai" title="Hentai">Hentai</a> <ul><li><a href="/wiki/Lolicon" title="Lolicon">Lolicon</a></li> <li><a href="/wiki/Shotacon" title="Shotacon">Shotacon</a></li> <li><a href="/wiki/Tentacle_erotica" title="Tentacle erotica">Tentacle erotica</a></li></ul></li> <li><a href="/wiki/Heimatfilm" title="Heimatfilm">Homeland</a></li> <li><a href="/wiki/Isekai" title="Isekai">Isekai</a></li> <li><a href="/wiki/Jidaigeki" title="Jidaigeki">Jidaigeki</a> <ul><li><a href="/wiki/Samurai_cinema" title="Samurai cinema">Samurai</a></li></ul></li> <li><a href="/wiki/Gentleman_thief" title="Gentleman thief">Kaitō</a></li> <li><a href="/wiki/List_of_LGBTQ-related_films" title="List of LGBTQ-related films">LGBTQ</a> <ul><li><a href="/wiki/Yaoi" class="mw-redirect" title="Yaoi">Yaoi</a></li> <li><a href="/wiki/Yuri_(genre)" title="Yuri (genre)">Yuri</a></li></ul></li> <li><a href="/wiki/Luchador_films" title="Luchador films">Luchador</a></li> <li><a href="/wiki/Magical_girl" title="Magical girl">Magical girl</a></li> <li><a href="/wiki/Martial_arts_film" title="Martial arts film">Martial arts</a> <ul><li><a href="/wiki/Bruceploitation" title="Bruceploitation">Bruceploitation</a></li> <li><a href="/wiki/Chopsocky" title="Chopsocky">Chopsocky</a></li> <li><a href="/wiki/Gun_fu" title="Gun fu">Gun fu</a></li> <li><a href="/wiki/Kung_fu_film" title="Kung fu film">Kung fu</a></li> <li><a href="/wiki/List_of_ninja_films" title="List of ninja films">Ninja</a></li> <li><a href="/wiki/Wuxia" title="Wuxia">Wuxia</a></li></ul></li> <li><a href="/wiki/Mecha" title="Mecha">Mecha</a> <ul><li><a href="/wiki/Mecha_anime_and_manga" title="Mecha anime and manga">Anime</a></li></ul></li> <li><a href="/wiki/Monster_movie" title="Monster movie">Monster</a> <ul><li><a href="/wiki/List_of_films_featuring_giant_monsters" title="List of films featuring giant monsters">Giant monster</a></li> <li><a href="/wiki/Kaiju" title="Kaiju">Kaiju</a></li> <li><a href="/wiki/List_of_mummy_films" title="List of mummy films">Mummy</a></li> <li><a href="/wiki/Vampire_film" title="Vampire film">Vampire</a></li> <li><a href="/wiki/List_of_zombie_films" title="List of zombie films">Zombie</a> <ul><li><a href="/wiki/Zombie_comedy" title="Zombie comedy">Zombie comedy</a></li></ul></li></ul></li> <li><a href="/wiki/Mountain_film" title="Mountain film">Mountain</a></li> <li><a href="/wiki/Cinema_da_Boca_do_Lixo" title="Cinema da Boca do Lixo">Mouth of Garbage</a></li> <li><a href="/wiki/Muslim_social" title="Muslim social">Muslim social</a></li> <li><a href="/wiki/Nature_documentary" title="Nature documentary">Nature</a> <ul><li><a href="/wiki/List_of_environmental_films" title="List of environmental films">Environmental issues</a></li></ul></li> <li><a href="/wiki/Opera_film" title="Opera film">Opera</a></li> <li><a href="/wiki/Outlaw_biker_film" title="Outlaw biker film">Outlaw biker</a></li> <li><a href="/wiki/Ozploitation" title="Ozploitation">Ozploitation</a></li> <li><a href="/wiki/Partisan_film" title="Partisan film">Partisan film</a></li> <li><a href="/wiki/Prison_film" title="Prison film">Prison</a> <ul><li><a href="/wiki/Women_in_prison_film" class="mw-redirect" title="Women in prison film">Women</a></li></ul></li> <li><a href="/wiki/Race_film" title="Race film">Race</a></li> <li><a href="/wiki/Rape_and_revenge_film" class="mw-redirect" title="Rape and revenge film">Rape and revenge</a></li> <li><a href="/wiki/Road_movie" title="Road movie">Road</a></li> <li><a href="/wiki/Tr%C3%BCmmerfilm" title="Trümmerfilm">Rubble</a></li> <li><a href="/wiki/Rumberas_film" title="Rumberas film">Rumberas</a></li> <li><a href="/wiki/Sexploitation_film" title="Sexploitation film">Sexploitation</a> <ul><li><a href="/wiki/Bavarian_porn" title="Bavarian porn">Bavarian porn</a></li> <li><a href="/wiki/Commedia_sexy_all%27italiana" title="Commedia sexy all'italiana">Commedia sexy all'italiana</a></li> <li><a href="/wiki/Mexican_sex_comedy" title="Mexican sex comedy">Mexican sex comedy</a></li> <li><a href="/wiki/Nazi_exploitation" title="Nazi exploitation">Nazi exploitation</a></li> <li><a href="/wiki/Pornochanchada" title="Pornochanchada">Pornochanchada</a></li> <li><a href="/wiki/Nunsploitation" title="Nunsploitation">Nunsploitation</a></li> <li><a href="/wiki/Sex_report_film" title="Sex report film">Sex report</a></li></ul></li> <li><a href="/wiki/Shoshimin-eiga" title="Shoshimin-eiga">Shoshimin-eiga</a></li> <li><a href="/wiki/List_of_films_featuring_slavery" title="List of films featuring slavery">Slavery</a></li> <li><a href="/wiki/Slice_of_life" title="Slice of life">Slice of life</a></li> <li><a href="/wiki/Snuff_film" title="Snuff film">Snuff</a></li> <li><a href="/wiki/South_Seas_genre" title="South Seas genre">South Seas</a></li> <li><a href="/wiki/Sports_film" title="Sports film">Sports</a></li> <li><a href="/wiki/Spy_film" title="Spy film">Spy</a> <ul><li><a href="/wiki/Eurospy_film" title="Eurospy film">Eurospy</a></li></ul></li> <li><a href="/wiki/Superhero_film" title="Superhero film">Superhero</a></li> <li><a href="/wiki/Surf_film" title="Surf film">Surfing</a></li> <li><a href="/wiki/Swashbuckler_film" title="Swashbuckler film">Swashbuckler</a></li> <li><a href="/wiki/Sword-and-sandal" title="Sword-and-sandal">Sword-and-sandal</a></li> <li><a href="/wiki/Sword_and_sorcery" title="Sword and sorcery">Sword and sorcery</a></li> <li><a href="/wiki/Travel_documentary" title="Travel documentary">Travel</a> <ul><li><a href="/wiki/Imaginary_voyage" title="Imaginary voyage">imaginary voyage</a></li></ul></li> <li><a href="/wiki/Trial_film" title="Trial film">Trial</a></li> <li><a href="/wiki/Vigilante_film" title="Vigilante film">Vigilante</a></li> <li><a href="/wiki/War_film" title="War film">War</a> <ul><li><a href="/wiki/List_of_anti-war_films" class="mw-redirect" title="List of anti-war films">Anti-war</a></li> <li><a href="/wiki/Euro_War" title="Euro War">Euro War</a></li> <li><a href="/wiki/Submarine_films" title="Submarine films">Submarine</a></li></ul></li> <li><a href="/wiki/Western_film" title="Western film">Western</a> <ul><li><a href="/wiki/Acid_Western" title="Acid Western">Acid</a></li> <li><a href="/wiki/Contemporary_Western" title="Contemporary Western">Contemporary Western</a></li> <li><a href="/wiki/Dacoit_Western" class="mw-redirect" title="Dacoit Western">Dacoit Western</a></li> <li><a href="/wiki/Fantasy_Western" class="mw-redirect" title="Fantasy Western">Fantasy</a></li> <li><a href="/wiki/Florida_Western" title="Florida Western">Florida</a></li> <li><a href="/wiki/Horror_Western" title="Horror Western">Horror</a></li> <li><a href="/wiki/Australian_Western" title="Australian Western">Meat pie</a></li> <li><a href="/wiki/Northern_(genre)" title="Northern (genre)">Northern</a></li> <li><a href="/wiki/Ostern" title="Ostern">Ostern</a></li> <li><a href="/wiki/Revisionist_Western" title="Revisionist Western">Revisionist</a></li> <li><a href="/wiki/Science_fiction_Western" title="Science fiction Western">Science fiction</a></li> <li><a href="/wiki/Singing_cowboy" title="Singing cowboy">Singing cowboy</a></li> <li><a href="/wiki/Space_Western" title="Space Western">Space</a></li> <li><a href="/wiki/Spaghetti_Western" title="Spaghetti Western">Spaghetti</a></li> <li><a href="/wiki/Weird_West" title="Weird West">Weird Western</a></li> <li><a href="/wiki/Zapata_Western" class="mw-redirect" title="Zapata Western">Zapata Western</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By movement or period</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Absolute_film" class="mw-redirect" title="Absolute film">Absolute</a></li> <li><a href="/wiki/American_eccentric_cinema" title="American eccentric cinema">American eccentric cinema</a></li> <li><a href="/wiki/Australian_New_Wave" title="Australian New Wave">Australian New Wave</a></li> <li><a href="/wiki/Auteur" title="Auteur">Auteur films</a></li> <li><a href="/wiki/Berlin_School_(filmmaking)" title="Berlin School (filmmaking)">Berlin School</a></li> <li><a href="/wiki/Bourekas_film" title="Bourekas film">Bourekas</a></li> <li><a href="/wiki/Brighton_School_(filmmaking)" title="Brighton School (filmmaking)">Brighton School</a></li> <li><a href="/wiki/British_New_Wave" title="British New Wave">British New Wave</a> <ul><li><a href="/wiki/Kitchen_sink_realism" title="Kitchen sink realism">Kitchen sink realism</a></li></ul></li> <li><a href="/wiki/Budapest_school" title="Budapest school">Budapest school</a></li> <li><a href="/wiki/Calligrafismo" title="Calligrafismo">Calligrafismo</a></li> <li><a href="/wiki/Cannibal_film" title="Cannibal film">Cannibal boom</a></li> <li><a href="/wiki/Cin%C3%A9ma_du_look" title="Cinéma du look">Cinéma du look</a></li> <li><a href="/wiki/Cinema_Novo" title="Cinema Novo">Cinema Novo</a></li> <li><a href="/wiki/Cinema_of_Transgression" title="Cinema of Transgression">Cinema of Transgression</a></li> <li><a href="/wiki/Cin%C3%A9ma_pur" class="mw-redirect" title="Cinéma pur">Cinéma pur</a></li> <li><a href="/wiki/Commedia_all%27italiana" title="Commedia all'italiana">Commedia all'italiana</a></li> <li><a href="/wiki/Czechoslovak_New_Wave" title="Czechoslovak New Wave">Czechoslovak New Wave</a></li> <li><a href="/wiki/Documentary_Film_Movement" title="Documentary Film Movement">Documentary Film Movement</a></li> <li><a href="/wiki/Dogme_95" title="Dogme 95">Dogme 95</a></li> <li><a href="/wiki/Erra_Cinema" class="mw-redirect" title="Erra Cinema">Erra Cinema</a></li> <li><a href="/wiki/European_art_cinema" title="European art cinema">European art cinema</a></li> <li><a href="/wiki/Film_d%27art" title="Film d'art">Film d'art</a></li> <li><a href="/wiki/Film_gris" title="Film gris">Film gris</a></li> <li><a href="/wiki/Free_Cinema" title="Free Cinema">Free Cinema</a></li> <li><a href="/wiki/French_New_Wave" title="French New Wave">French New Wave</a></li> <li><a href="/wiki/German_expressionist_cinema" title="German expressionist cinema">German Expressionist</a></li> <li><a href="/wiki/German_underground_horror" title="German underground horror">German underground horror</a></li> <li><a href="/wiki/Golden_Age_of_Nigerian_Cinema" title="Golden Age of Nigerian Cinema">Nigerian Golden Age</a></li> <li><a href="/wiki/Grupo_Cine_Liberaci%C3%B3n" title="Grupo Cine Liberación">Grupo Cine Liberación</a></li> <li><a href="/wiki/Heimatfilm" title="Heimatfilm">Heimatfilm</a></li> <li><a href="/wiki/Hollywood_on_the_Tiber" title="Hollywood on the Tiber">Hollywood on the Tiber</a></li> <li><a href="/wiki/Hong_Kong_New_Wave" title="Hong Kong New Wave">Hong Kong New Wave</a></li> <li><a href="/wiki/Indiewood" title="Indiewood">Indiewood</a></li> <li><a href="/wiki/Iranian_New_Wave" title="Iranian New Wave">Iranian New Wave</a></li> <li><a href="/wiki/Italian_futurism_in_cinema" title="Italian futurism in cinema">Italian futurist</a></li> <li><a href="/wiki/Italian_neorealism" title="Italian neorealism">Italian neorealist</a></li> <li><a href="/wiki/Japanese_New_Wave" title="Japanese New Wave">Japanese New Wave</a></li> <li><a href="/wiki/Kammerspielfilm" title="Kammerspielfilm">Kammerspielfilm</a></li> <li><a href="/wiki/L.A._Rebellion" title="L.A. Rebellion">L.A. Rebellion</a></li> <li><a href="/wiki/Lettrism" title="Lettrism">Lettrist</a></li> <li><a href="/wiki/Modernist_film" title="Modernist film">Modernist film</a></li> <li><a href="/wiki/Mumblecore" title="Mumblecore">Mumblecore</a></li> <li><a href="/wiki/Neorealism_(art)" title="Neorealism (art)">Neorealist</a></li> <li><a href="/wiki/New_Extremity" class="mw-redirect" title="New Extremity">New French Extremity</a></li> <li><a href="/wiki/New_German_Cinema" title="New German Cinema">New German</a></li> <li><a href="/wiki/New_generation_(Malayalam_film_movement)" title="New generation (Malayalam film movement)">New generation</a></li> <li><a href="/wiki/New_Hollywood" title="New Hollywood">New Hollywood</a></li> <li><a href="/wiki/New_Nigerian_Cinema" title="New Nigerian Cinema">New Nollywood</a></li> <li><a href="/wiki/New_Objectivity_(filmmaking)" title="New Objectivity (filmmaking)">New Objectivity</a></li> <li><a href="/wiki/New_queer_cinema" title="New queer cinema">New Queer</a></li> <li><a href="/wiki/No_Wave_Cinema" class="mw-redirect" title="No Wave Cinema">No wave</a></li> <li><a href="/wiki/Nuevo_Cine_Mexicano" title="Nuevo Cine Mexicano">Nuevo Cine Mexicano</a></li> <li><a href="/wiki/Pan-Indian_film" title="Pan-Indian film">Pan-Indian film</a></li> <li><a href="/wiki/Parallel_cinema" title="Parallel cinema">Parallel cinema</a></li> <li><a href="/wiki/Filmfarsi" title="Filmfarsi">Persian Film</a></li> <li><a href="/wiki/Poetic_realism" title="Poetic realism">Poetic realist</a></li> <li><a href="/wiki/Polish_Film_School" title="Polish Film School">Polish Film School</a></li> <li><a href="/wiki/Poliziotteschi" title="Poliziotteschi">Poliziotteschi</a></li> <li><a href="/wiki/The_Prague_film_school" title="The Prague film school">The Prague film school</a></li> <li><a href="/wiki/Prussian_film" title="Prussian film">Prussian film</a></li> <li><a href="/wiki/Pure_Film_Movement" title="Pure Film Movement">Pure Film Movement</a></li> <li><a href="/wiki/Remodernist_film" title="Remodernist film">Remodernist</a></li> <li><a href="/wiki/Romanian_New_Wave" title="Romanian New Wave">Romanian New Wave</a></li> <li><a href="/wiki/Slow_cinema" title="Slow cinema">Slow cinema</a></li> <li><a href="/wiki/Spaghetti_Western" title="Spaghetti Western">Spaghetti Western</a></li> <li><a href="/wiki/Socialist_realism" title="Socialist realism">Socialist realist</a></li> <li><a href="/wiki/Social_realism" title="Social realism">Social realist</a> <ul><li><a href="/wiki/Kitchen_sink_realism" title="Kitchen sink realism">Kitchen sink realism</a></li></ul></li> <li><a href="/wiki/Soviet_parallel_cinema" title="Soviet parallel cinema">Soviet parallel</a></li> <li><a href="/wiki/Structural_film" title="Structural film">Structural</a></li> <li><a href="/wiki/Surrealist_cinema" title="Surrealist cinema">Surrealist</a></li> <li><a href="/wiki/Sword-and-sandal" title="Sword-and-sandal">Sword-and-sandal</a></li> <li><a href="/wiki/Telefoni_Bianchi" title="Telefoni Bianchi">Telefoni Bianchi</a></li> <li><a href="/wiki/Third_Cinema" title="Third Cinema">Third Cinema</a></li> <li><a href="/wiki/Toronto_New_Wave" title="Toronto New Wave">Toronto New Wave</a></li> <li><a href="/wiki/Vulgar_auteurism" title="Vulgar auteurism">Vulgar auteurism</a></li> <li><a href="/wiki/Yugoslav_Black_Wave" title="Yugoslav Black Wave">Yugoslav Black Wave</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By demographic</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Pornographic_film" title="Pornographic film">Adult</a></li> <li><a href="/wiki/Black_film" title="Black film">Black</a></li> <li><a href="/wiki/Children%27s_film" title="Children's film">Children and family</a> <ul><li><a href="/wiki/Children%27s_anime_and_manga" title="Children's anime and manga">Anime</a></li></ul></li> <li>Men <ul><li><a href="/wiki/Seinen_manga" title="Seinen manga">Seinen</a></li> <li><a href="/wiki/Stag_film" title="Stag film">Stag</a></li></ul></li> <li><a href="/wiki/Teen_film" title="Teen film">Teen</a> <ul><li><a href="/wiki/Sh%C5%8Dnen_manga" title="Shōnen manga">Shōnen</a></li> <li><a href="/wiki/Sh%C5%8Djo_manga" title="Shōjo manga">Shōjo</a></li></ul></li> <li><a href="/wiki/Woman%27s_film" title="Woman's film">Women</a> <ul><li><a href="/wiki/Chick_flick" title="Chick flick">Chick flick</a></li> <li><a href="/wiki/Josei_manga" title="Josei manga">Josei</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By format, technique, approach, or production</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/3D_film" title="3D film">3D</a></li> <li><a href="/wiki/Actuality_film" title="Actuality film">Actuality</a></li> <li><a href="/wiki/Animation" title="Animation">Animation</a> <ul><li><a href="/wiki/Anime" title="Anime">Anime</a></li> <li><a href="/wiki/Arthouse_animation" title="Arthouse animation">Art</a></li> <li><a href="/wiki/Animated_cartoon" class="mw-redirect" title="Animated cartoon">Cartoon</a></li> <li><a href="/wiki/Computer_animation" title="Computer animation">Computer</a></li> <li><a href="/wiki/Stop_motion" title="Stop motion">Stop-motion</a></li> <li><a href="/wiki/Traditional_animation" title="Traditional animation">Traditional</a></li></ul></li> <li><a href="/wiki/Anthology_film" title="Anthology film">Anthology</a></li> <li><a href="/wiki/Art_film" title="Art film">Art</a></li> <li><a href="/wiki/B_movie" title="B movie">B movie</a></li> <li><a href="/wiki/Behind-the-scenes" title="Behind-the-scenes">Behind-the-scenes</a></li> <li><a href="/wiki/Black-and-white" title="Black-and-white">Black-and-white</a></li> <li><a href="/wiki/Blockbuster_(entertainment)" title="Blockbuster (entertainment)">Blockbuster</a></li> <li><a href="/wiki/Cin%C3%A9ma_v%C3%A9rit%C3%A9" title="Cinéma vérité">Cinéma vérité</a></li> <li><a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a></li> <li><a href="/wiki/Collage_film" title="Collage film">Collage</a></li> <li><a href="/wiki/Color_motion_picture_film" title="Color motion picture film">Color</a></li> <li><a href="/wiki/Compilation_film" title="Compilation film">Compilation</a></li> <li><a href="/wiki/Composite_film" title="Composite film">Composite</a></li> <li><a href="/wiki/Screenlife" title="Screenlife">Computer screen</a></li> <li><a href="/wiki/Cult_film" title="Cult film">Cult</a> <ul><li><a href="/wiki/Midnight_movie" title="Midnight movie">midnight movie</a></li></ul></li> <li><a href="/wiki/Database_cinema" title="Database cinema">Database cinema</a></li> <li><a href="/wiki/Docufiction" title="Docufiction">Docufiction</a></li> <li><a href="/wiki/Ethnofiction" title="Ethnofiction">Ethnofiction</a></li> <li><a href="/wiki/Experimental_film" title="Experimental film">Experimental</a> <ul><li><a href="/wiki/Abstract_animation" class="mw-redirect" title="Abstract animation">Abstract</a></li></ul></li> <li><a href="/wiki/Feature_film" title="Feature film">Feature</a></li> <li><a href="/wiki/Featurette" title="Featurette">Featurette</a></li> <li><a href="/wiki/Film_%C3%A0_clef" title="Film à clef">Film à clef</a></li> <li><a href="/wiki/Film-poem" title="Film-poem">Film-poem</a></li> <li><a href="/wiki/Found_footage_(film_technique)" title="Found footage (film technique)">Found footage</a></li> <li><a href="/wiki/Hyperlink_cinema" title="Hyperlink cinema">Hyperlink cinema</a></li> <li><a href="/wiki/Independent_film" title="Independent film">Independent</a> <ul><li><a href="/wiki/Guerrilla_filmmaking" title="Guerrilla filmmaking">Guerrilla filmmaking</a></li> <li><a href="/wiki/List_of_American_independent_films" title="List of American independent films">List of American independent films</a></li></ul></li> <li><a href="/wiki/Interstitial_art" title="Interstitial art">Interstitial art</a></li> <li><a href="/wiki/Live_action" title="Live action">Live action</a> <ul><li><a href="/wiki/List_of_films_with_live_action_and_animation" title="List of films with live action and animation">animation</a></li></ul></li> <li><a href="/wiki/Low-budget_film" title="Low-budget film">Low-budget</a></li> <li><a href="/wiki/Major_film_studios" title="Major film studios">Major film studios</a></li> <li><a href="/wiki/Masala_film" title="Masala film">Masala</a></li> <li><a href="/wiki/Maximalist_film" title="Maximalist film">Maximalist film</a></li> <li><a href="/wiki/Message_picture" title="Message picture">Message picture</a></li> <li><a href="/wiki/Metacinema" title="Metacinema">Meta-film</a></li> <li><a href="/wiki/Minimalist_film" title="Minimalist film">Minimalist film</a></li> <li><a href="/wiki/Mockbuster" title="Mockbuster">Mockbuster</a></li> <li><a href="/wiki/Modernist_film" title="Modernist film">Modernist film</a></li> <li><a href="/wiki/Musical_short" title="Musical short">Musical short</a></li> <li><a href="/wiki/Mythopoeia" title="Mythopoeia">Mythopoeia</a></li> <li><a href="/wiki/Neorealism_(art)" title="Neorealism (art)">Neorealist</a></li> <li><a href="/wiki/No-budget_film" title="No-budget film">No-budget</a></li> <li><a href="/wiki/One-shot_film" title="One-shot film">One-shot</a></li> <li><a href="/wiki/Paracinema" title="Paracinema">Paracinema</a></li> <li><a href="/wiki/Participatory_cinema" title="Participatory cinema">Participatory</a></li> <li><a href="/wiki/Poetry_film" title="Poetry film">Poetry</a></li> <li><a href="/wiki/Postmodernist_film" title="Postmodernist film">Postmodernist</a></li> <li><a href="/wiki/Reverse_motion" title="Reverse motion">Reverse motion</a></li> <li><a href="/wiki/Satire_(film_and_television)" title="Satire (film and television)">Satire</a></li> <li><a href="/wiki/Sceneggiata" title="Sceneggiata">Sceneggiata</a></li> <li><a href="/wiki/Semidocumentary" title="Semidocumentary">Semidocumentary</a></li> <li><a href="/wiki/Serial_film" title="Serial film">Serial</a></li> <li><a href="/wiki/Shinpa" title="Shinpa">Shinpa</a></li> <li><a href="/wiki/Short_film" title="Short film">Short</a></li> <li><a href="/wiki/Silent_film" title="Silent film">Silent</a></li> <li><a href="/wiki/Slow_cinema" title="Slow cinema">Slow cinema</a></li> <li><a href="/wiki/Socialist_realism" title="Socialist realism">Socialist realist</a></li> <li><a href="/wiki/Sound_film" title="Sound film">Sound</a></li> <li><a href="/wiki/Underground_film" title="Underground film">Underground</a></li> <li><a href="/wiki/Video_nasty" title="Video nasty">Video nasty</a></li> <li><a href="/wiki/Vulgar_auteurism" title="Vulgar auteurism">Vulgar auteurism</a></li> <li><a href="/wiki/Z_movie" title="Z movie">Z movie</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> <ul><li><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /> <a href="/wiki/Category:Film_genres" title="Category:Film genres">Category</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-label="Navbox864" style="padding:3px"><table class="nowraplinks hlist navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a>: National <a href="https://www.wikidata.org/wiki/Q185867#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4116435-0">Germany</a></li><li><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh87000260">United States</a></li><li><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph381215&CON_LNG=ENG">Czech Republic</a></li><li><a rel="nofollow" class="external text" href="https://www.nli.org.il/en/authorities/987007534099105171">Israel</a></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=desktop&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Film_noir&oldid=1281482322">https://en.wikipedia.org/w/index.php?title=Film_noir&oldid=1281482322</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Film_noir" title="Category:Film noir">Film noir</a></li><li><a href="/wiki/Category:Film_and_video_terminology" title="Category:Film and video terminology">Film and video terminology</a></li><li><a href="/wiki/Category:Film_genres" title="Category:Film genres">Film genres</a></li><li><a href="/wiki/Category:History_of_film" title="Category:History of film">History of film</a></li><li><a href="/wiki/Category:1930s_in_film" title="Category:1930s in film">1930s in film</a></li><li><a href="/wiki/Category:1940s_in_film" title="Category:1940s in film">1940s in film</a></li><li><a href="/wiki/Category:1950s_in_film" title="Category:1950s in film">1950s in film</a></li><li><a href="/wiki/Category:1940s_neologisms" title="Category:1940s neologisms">1940s neologisms</a></li></ul></div><div id="mw-hidden-catlinks" class="mw-hidden-catlinks mw-hidden-cats-hidden">Hidden categories: <ul><li><a href="/wiki/Category:Webarchive_template_wayback_links" title="Category:Webarchive template wayback links">Webarchive template wayback links</a></li><li><a href="/wiki/Category:Articles_with_short_description" title="Category:Articles with short description">Articles with short description</a></li><li><a href="/wiki/Category:Short_description_is_different_from_Wikidata" title="Category:Short description is different from Wikidata">Short description is different from Wikidata</a></li><li><a href="/wiki/Category:Use_mdy_dates_from_October_2024" title="Category:Use mdy dates from October 2024">Use mdy dates from October 2024</a></li><li><a href="/wiki/Category:Pages_with_French_IPA" title="Category:Pages with French IPA">Pages with French IPA</a></li><li><a href="/wiki/Category:Articles_with_hAudio_microformats" title="Category:Articles with hAudio microformats">Articles with hAudio microformats</a></li><li><a href="/wiki/Category:All_articles_with_minor_POV_problems" title="Category:All articles with minor POV problems">All articles with minor POV problems</a></li><li><a href="/wiki/Category:Articles_with_minor_POV_problems_from_September_2023" title="Category:Articles with minor POV problems from September 2023">Articles with minor POV problems from September 2023</a></li><li><a href="/wiki/Category:All_articles_with_unsourced_statements" title="Category:All articles with unsourced statements">All articles with unsourced statements</a></li><li><a href="/wiki/Category:Articles_with_unsourced_statements_from_July_2023" title="Category:Articles with unsourced statements from July 2023">Articles with unsourced statements from July 2023</a></li><li><a href="/wiki/Category:Spoken_articles" title="Category:Spoken articles">Spoken articles</a></li><li><a href="/wiki/Category:Commons_category_link_from_Wikidata" title="Category:Commons category link from Wikidata">Commons category link from Wikidata</a></li></ul></div></div> </div> </main> </div> <div class="mw-footer-container"> <footer id="footer" class="mw-footer" > <ul id="footer-info"> <li id="footer-info-lastmod"> This page was last edited on 20 March 2025, at 17:15 (UTC).</li> <li id="footer-info-copyright">Text is available under the <a href="/wiki/Wikipedia:Text_of_the_Creative_Commons_Attribution-ShareAlike_4.0_International_License" title="Wikipedia:Text of the Creative Commons Attribution-ShareAlike 4.0 International License">Creative Commons Attribution-ShareAlike 4.0 License</a>; additional terms may apply. By using this site, you agree to the <a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Terms_of_Use" class="extiw" title="foundation:Special:MyLanguage/Policy:Terms of Use">Terms of Use</a> and <a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Privacy_policy" class="extiw" title="foundation:Special:MyLanguage/Policy:Privacy policy">Privacy Policy</a>. Wikipedia® is a registered trademark of the <a rel="nofollow" class="external text" href="https://wikimediafoundation.org/">Wikimedia Foundation, Inc.</a>, a non-profit organization.</li> </ul> <ul id="footer-places"> <li id="footer-places-privacy"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Privacy_policy">Privacy policy</a></li> <li id="footer-places-about"><a href="/wiki/Wikipedia:About">About Wikipedia</a></li> <li id="footer-places-disclaimers"><a href="/wiki/Wikipedia:General_disclaimer">Disclaimers</a></li> <li id="footer-places-contact"><a href="//en.wikipedia.org/wiki/Wikipedia:Contact_us">Contact Wikipedia</a></li> <li id="footer-places-wm-codeofconduct"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Universal_Code_of_Conduct">Code of Conduct</a></li> <li id="footer-places-developers"><a href="https://developer.wikimedia.org">Developers</a></li> <li id="footer-places-statslink"><a href="https://stats.wikimedia.org/#/en.wikipedia.org">Statistics</a></li> <li id="footer-places-cookiestatement"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Cookie_statement">Cookie statement</a></li> <li id="footer-places-mobileview"><a href="//en.m.wikipedia.org/w/index.php?title=Film_noir&mobileaction=toggle_view_mobile" class="noprint stopMobileRedirectToggle">Mobile view</a></li> </ul> <ul id="footer-icons" class="noprint"> <li id="footer-copyrightico"><a href="https://wikimediafoundation.org/" class="cdx-button cdx-button--fake-button cdx-button--size-large cdx-button--fake-button--enabled"><picture><source media="(min-width: 500px)" srcset="/static/images/footer/wikimedia-button.svg" width="84" height="29"><img src="/static/images/footer/wikimedia.svg" width="25" height="25" alt="Wikimedia Foundation" lang="en" loading="lazy"></picture></a></li> <li id="footer-poweredbyico"><a href="https://www.mediawiki.org/" class="cdx-button cdx-button--fake-button cdx-button--size-large cdx-button--fake-button--enabled"><picture><source media="(min-width: 500px)" srcset="/w/resources/assets/poweredby_mediawiki.svg" width="88" height="31"><img src="/w/resources/assets/mediawiki_compact.svg" alt="Powered by MediaWiki" lang="en" width="25" height="25" loading="lazy"></picture></a></li> </ul> </footer> </div> </div> </div> <div class="vector-header-container vector-sticky-header-container"> <div id="vector-sticky-header" class="vector-sticky-header"> <div class="vector-sticky-header-start"> <div class="vector-sticky-header-icon-start vector-button-flush-left vector-button-flush-right" aria-hidden="true"> <button class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-sticky-header-search-toggle" tabindex="-1" data-event-name="ui.vector-sticky-search-form.icon"> Search </button> </div> <div role="search" class="vector-search-box-vue vector-search-box-show-thumbnail vector-search-box"> <div class="vector-typeahead-search-container"> <div class="cdx-typeahead-search cdx-typeahead-search--show-thumbnail"> <form action="/w/index.php" id="vector-sticky-search-form" class="cdx-search-input cdx-search-input--has-end-button"> <div class="cdx-search-input__input-wrapper" data-search-loc="header-moved"> <div class="cdx-text-input cdx-text-input--has-start-icon"> <input class="cdx-text-input__input" type="search" name="search" placeholder="Search Wikipedia"> </div> <input type="hidden" name="title" value="Special:Search"> </div> <button class="cdx-button cdx-search-input__end-button">Search</button> </form> </div> </div> </div> <div class="vector-sticky-header-context-bar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-sticky-header-toc" class="vector-dropdown mw-portlet mw-portlet-sticky-header-toc vector-sticky-header-toc vector-button-flush-left" > <input type="checkbox" id="vector-sticky-header-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-sticky-header-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-sticky-header-toc-label" for="vector-sticky-header-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-sticky-header-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <div class="vector-sticky-header-context-bar-primary" aria-hidden="true" >Film noir</div> </div> </div> <div class="vector-sticky-header-end" aria-hidden="true"> <div class="vector-sticky-header-icons"> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-talk-sticky-header" tabindex="-1" data-event-name="talk-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-subject-sticky-header" tabindex="-1" data-event-name="subject-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-history-sticky-header" tabindex="-1" data-event-name="history-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only mw-watchlink" id="ca-watchstar-sticky-header" tabindex="-1" data-event-name="watch-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-edit-sticky-header" tabindex="-1" data-event-name="wikitext-edit-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-ve-edit-sticky-header" tabindex="-1" data-event-name="ve-edit-sticky-header"> </a> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only" id="ca-viewsource-sticky-header" tabindex="-1" data-event-name="ve-edit-protected-sticky-header"> </a> </div> <div class="vector-sticky-header-buttons"> <button class="cdx-button cdx-button--weight-quiet mw-interlanguage-selector" id="p-lang-btn-sticky-header" tabindex="-1" data-event-name="ui.dropdown-p-lang-btn-sticky-header"> 53 languages </button> <a href="#" class="cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive" id="ca-addsection-sticky-header" tabindex="-1" data-event-name="addsection-sticky-header"> Add topic </a> </div> <div class="vector-sticky-header-icon-end"> <div class="vector-user-links"> </div> </div> </div> </div> </div> <div class="mw-portlet mw-portlet-dock-bottom emptyPortlet" id="p-dock-bottom"> <ul> </ul> </div> <script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.eqiad.main-6d78b94fdf-8n9kk","wgBackendResponseTime":523,"wgPageParseReport":{"limitreport":{"cputime":"1.949","walltime":"2.518","ppvisitednodes":{"value":26769,"limit":1000000},"postexpandincludesize":{"value":273611,"limit":2097152},"templateargumentsize":{"value":18452,"limit":2097152},"expansiondepth":{"value":21,"limit":100},"expensivefunctioncount":{"value":14,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":510894,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1986.779 1 -total"," 26.45% 525.437 1 Template:Reflist"," 21.53% 427.662 85 Template:ISBN"," 14.99% 297.876 39 Template:Cite_web"," 10.77% 213.911 85 Template:Catalog_lookup_link"," 7.90% 156.880 1 Template:IPA"," 5.47% 108.660 1 Template:Short_description"," 3.67% 72.997 256 Template:Yesno-no"," 3.56% 70.653 3 Template:Navbox"," 3.51% 69.823 348 Template:Yesno"]},"scribunto":{"limitreport-timeusage":{"value":"0.895","limit":"10.000"},"limitreport-memusage":{"value":19160102,"limit":52428800}},"cachereport":{"origin":"mw-web.eqiad.main-6d78b94fdf-prq7h","timestamp":"20250320215646","ttl":2592000,"transientcontent":false}}});});</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"Film noir","url":"https:\/\/en.wikipedia.org\/wiki\/Film_noir","sameAs":"http:\/\/www.wikidata.org\/entity\/Q185867","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q185867","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2001-04-21T00:31:47Z","dateModified":"2025-03-20T17:15:33Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/2\/25\/BigComboTrailer.jpg","headline":"film genre\/style usually deployed in mystery and police procedural detective crime films"}</script> </body> </html>