Film Noir Reader 4

Acknowledgements vii Introduction 3(6) Part One: Case Studies ``Murder Can Sometimes Smell Like Honeysuckle'': Billy Wilder's Double Indemnity (1944) 9(16) James A. Paris Fate Seeks the Loser: Edgar G. Ulmer's Detour (1945) 25(8) Glenn Erickson ``How You Fixed for Red Points?'': Anecdote and the World War II Home Front in The Big Sleep (1946) 33(20) Kevin Hagopian ``Lounge Time'' Reconsidered: Spatial Discontinuity and Temporal Contingency in Out of the Past (1947) 53(14) R. Barton Palmer The Unsuspected (1947) and the Noir Sequence: Realism, Expressionism, Style 67(12) Robert Porfirio Gun Crazy (1950) 79(4) Gary Johnson Violently Happy: Gun Crazy (1950) 83(4) Adrian Martin The War of the Sexes: Men in Film Noir and D.O.A. (1950) 87(8) Beverley Carter The Big Night (1951): A Naturalist Bildungsroman 95(14) Tony Williams Kiss Me Deadly (1955): Composition and Meaning 109(10) Michael E. Grost Covert Narrative Strategies to Contain and Punish Women in The Big Heat (1953) and The Big Combo (1955) 119(14) Grant Tracey Touch of Evil (1958) and the End of the Noir Cycle 133(12) Stephen B. Armstrong Part Two: Noir Themes Voices from the Deep: Film Noir as Psychodrama 145(16) J. P. Telotte Manufacturing Heroines: Gothic Victims and Working Women in Classic Noir Films 161(14) Sheri Chinen Biesen The Noir Style 175(16) Nicolas Saada The Noir-Horror of Cat People (1942) 191(16) Eric Somer The Rise and Fall of the War Noir 207(20) Daniel M. Hodges The politics of crime and the crime of politics: Post-war noir, the liberal consensus and the Hollywood Left 227(20) Reynold Humphries Noir Westerns 247(14) James Ursini Rancho Notorious (1952): A Noir Western in Color 261(16) Robin Wood The Noir Title Sequence 277(10) Robert Porfirio It's DejaVous All Over Again: Double Indemnity Resonates with Generation X 287(20) Ginny Schwartz Through the Past Darkly: Noir Remakes of the 1980s 307(16) Constantine Verevis Notes on Contributors 323