Precursors / Early noir-like films
1927
Underworld
1928
The Docks of New York
The Racket
1929
Thunderbolt
1930
Paid
1931
The Big Gamble
Blonde Crazy
City Streets
Five Star Final
Little Caesar
The Maltese Falcon (aka Dangerous Female)
Quick Millions
The Public Enemy
1932
The Beast of the City
I Am a Fugitive from a Chain Gang
Night Court
Payment Deferred
Scarface
Two Seconds
20,000 Years in Sing Sing
1933
Blood Money
Private Detective 62
1934
Crime Without Passion
Midnight
1935
Bordertown
The Florentine Dagger
G Men
The Glass Key
The Scoundrel
1936
Bullets or Ballots
Fury
Great Guy
Muss 'Em Up
The Petrified Forest
Satan Met a Lady
1937
Black Legion
Dead End
Kid Galahad
Marked Woman
San Quentin
You Only Live Once
They Gave Him a Gun
They Won't Forget
1938
Algiers
The Amazing Dr. Clitterhouse
Angels with Dirty Faces
1939
Blind Alley
Each Dawn I Die
Invisible Stripes
King of the Underworld
Let Us Live
Rio
The Roaring Twenties
They Made Me a Criminal
1940
Angels Over Broadway
City for Conquest
Johnny Apollo
Non-American
Dr. Mabuse, der Spieler (Dr. Mabuse the Gambler) (1922, Germany)
Asphalt (1929, Germany)
La Chienne (1931, France)
M (1931, Germany)
Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse) (1933, Germany)
La Bandera (Escape from Yesterday) (1935, France)
The Green Cockatoo (1937, United Kingdom)
Pépé le Moko (1937, France)
La Bête Humaine (The Human Beast) (1938, France)
Hôtel du Nord (1938, France)
Le Quai des brumes (Port of Shadows) (1938, France)
They Drive by Night (1938, United Kingdom)
Le Dernier tournant (The Last Turning) (1939, France)
Le Jour se lève (Daybreak) (1939, France)
On the Night of the Fire (aka The Fugitive) (1939, United Kingdom)
Classic American noir
1940
The Letter
Stranger on the Third Floor
They Drive by Night
Rebecca
1941
Among the Living
Blues in the Night
High Sierra
I Wake Up Screaming
Johnny Eager
Ladies in Retirement
The Maltese Falcon
Out of the Fog
Rage in Heaven
Suspicion
The Shanghai Gesture
A Woman's Face
1942
Crossroads
The Glass Key
Moontide
Street of Chance
This Gun for Hire
1943
Calling Dr. Death
The Fallen Sparrow
Journey into Fear
The Seventh Victim
Shadow of a Doubt
Whispering Footsteps
1944
Bluebeard
Christmas Holiday
Dangerous Passage
Dark Waters
Destiny
Double Indemnity
Experiment Perilous
Gaslight[b]
Guest in the House (aka Satan in Skirts)
Laura
Lady in the Death House
The Lodger
The Mark of the Whistler - Whistler series
The Mask of Dimitrios
Ministry of Fear
Murder, My Sweet (aka Farewell, My Lovely)
Phantom Lady
Strangers in the Night
The Suspect
Voice in the Wind
When Strangers Marry (aka Betrayed)
The Whistler - Whistler series
The Woman in the Window
1945
Apology for Murder
Bewitched
Circumstantial Evidence
Conflict
Cornered
Danger Signal
Dangerous Intruder
Detour
Escape in the Fog
Fallen Angel
The Great Flamarion
Hangover Square
The House on 92nd Street
Jealousy
Johnny Angel
The Lady Confesses
The Lost Weekend
Mildred Pierce
My Name is Julia Ross
The Power of the Whistler - Whistler series
Scarlet Street
Spellbound
The Spider
The Strange Affair of Uncle Harry
Two O'Clock Courage
The Unseen
Voice of the Whistler - Whistler series
1946
Accomplice
The Big Sleep
Black Angel
The Blue Dahlia
The Chase
Crack-Up
Criminal Court
The Dark Corner
The Dark Mirror
Deadline at Dawn
Deception
Decoy
Fear
Gilda
The Glass Alibi
Her Kind of Man
Humoresque
Inside Job
The Killers
The Locket
The Mask of Diijon
Mysterious Intruder - Whistler series
The Mysterious Mr. Valentine
Night Editor
Nobody Lives Forever
Nocturne
Notorious
The Postman Always Rings Twice
The Secret of the Whistler - Whistler series
Shadow of a Woman
Shock
So Dark the Night
Somewhere in the Night
Specter of the Rose
The Spiral Staircase
Strange Impersonation
The Strange Love of Martha Ivers
Strange Triangle
The Strange Woman
The Stranger
Suspense
Temptation
They Made Me a Killer
Three Strangers
Two Smart People
Undercurrent
The Verdict
Whistle Stop
1947
The Arnelo Affair
Backlash
Blackmail
Blind Spot
Body and Soul
Boomerang
Born to Kill
The Brasher Doubloon
Brute Force
Bury Me Dead
Calcutta
Crossfire
Cry Wolf
Dark Passage
Dead Reckoning
Deep Valley
Desperate
The Devil Thumbs a Ride
A Double Life
Fall Guy
Fear in the Night
The Flame
For You I Die
Framed
The Gangster
The Guilty
High Tide
High Wall
The Invisible Wall
Ivy
Johnny O'Clock
Key Witness
Kiss of Death[
The Lady from Shanghai
Lady in the Lake
The Long Night
Love from a Stranger
Lured (aka Personal Column
The Macomber Affair
The Man I Love
Moss Rose
Nightmare Alley
Nora Prentiss
Out of the Past
The Paradine Case
Possessed
The Pretender
Railroaded!
The Red House
Repeat Performance
Ride the Pink Horse
Riffraff
Shoot to Kill
Singapore
T-Men
They Won't Believe Me
The Thirteenth Hour - Whistler series
The Two Mrs. Carrolls
The Unfaithful
The Unsuspected
Violence
The Web
Whispering City
The Woman on the Beach
References
Jump up ^ 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 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.
Jump up ^ Naremore (2008), pp. 4, 15–16, 18, 41; Ballinger and Graydon (2007), pp. 4–5, 22, 255.
Jump up ^ Greenspun (1973), p. 32.
Jump up ^ Ballinger and Graydon (2007), p. 3.
Jump up ^ Borde and Chaumeton (2002), p. 2.
Jump up ^ Borde and Chaumeton (2002), pp. 2–3.
Jump up ^ Bould (2005), p. 13.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Bould (2005), p. 12; Place and Peterson (1974).
Jump up ^ See, e.g., Naremore (2008), p. 167–68; Irwin (2006), p. 210.
Jump up ^ Neale (2000), p. 166; Vernet (1993), p. 2; Naremore (2008), pp. 17, 122, 124, 140; Bould (2005), p. 19.
Jump up ^ 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).
Jump up ^ Ottoson (1981), pp. 2–3.
Jump up ^ See Dancyger and Rush (2002), p. 68, for a detailed comparison of screwball comedy and film noir.
Jump up ^ Schatz (1981), pp. 111–15.
Jump up ^ Silver (1996), pp. 4, 6 passim. See also Bould (2005), pp. 3, 4; Hirsch (2001), p. 11.
Jump up ^ Silver (1996), pp. 3, 6 passim. See also Place and Peterson (1974).
Jump up ^ Silver (1996), pp. 7–10.
Jump up ^ See, e.g., Jones (2009).
Jump up ^ See, e.g., Borde and Chaumeton (2002), pp. 1–7 passim.
Jump up ^ See, e.g., Telotte (1989), pp. 10–11, 15 passim.
Jump up ^ For survey of the lexical variety, see Naremore (2008), pp. 9, 311–12 n. 1.
Jump up ^ Bould (2005), pp. 24–33.
Jump up ^ Ballinger and Graydon (2007), pp. 9–11.
Jump up ^ Vernet (1993), p. 15.
Jump up ^ Ballinger and Graydon (2007), pp. 11–13.
Jump up ^ Davis (2004), p. 194. See also Ballinger and Graydon (2007), p. 133; Ottoson (1981), pp. 110–111. Vernet (1993) notes that the sort of techniques now associated with Expressionism were evident in the American cinema from the mid-1910s forward (pp. 9–12).
Jump up ^ Ballinger and Graydon (2007), p. 6.
Jump up ^ Ballinger and Graydon (2007), pp. 6–9; Silver and Ward (1992), pp. 323–24.
Jump up ^ Spicer (2007), pp. 26, 28; Ballinger and Graydon (2007), pp. 13–15; Bould (2005), pp. 33–40.
Jump up ^ McGarry (1980), p. 139.
Jump up ^ Ballinger and Graydon (2007), p. 20; Schatz (1981), pp. 116–22; Ottoson (1981), p. 2.
Jump up ^ Biesen (2005), p. 207.
Jump up ^ Naremore (2008), pp. 13–14.
Jump up ^ Krutnik, Neale, and Neve (2008), pp. 147–148; Macek and Silver (1980), p. 135.
Jump up ^ Widdicombe (2001), pp. 37–39, 59–60, 118–19; Doherty, Jim. "Carmady". Thrilling Detective Web Site. Retrieved 2010-02-25.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 6; Macek (1980), pp. 59–60.
Jump up ^ Irwin (2006), pp. 71, 95–96.
Jump up ^ Irwin (2006), pp. 123–24, 129–30.
Jump up ^ White (1980), p. 17.
Jump up ^ Irwin (2006), pp. 97–98, 188–89.
Jump up ^ 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.
^ Jump up to: a b See, e.g., Ballinger and Graydon (2007), p. 19; Irwin (2006), p. 210; Lyons (2000), p. 36; Porfirio (1980), p. 269.
Jump up ^ Biesen (2005), p. 33.
Jump up ^ Variety (1940).
Jump up ^ Marshman (1947), pp. 100–1.
Jump up ^ Ballinger and Graydon (2007), p. 4, 19–26, 28–33; Hirsch (2001), pp. 1–21; Schatz (1981), pp. 111–16.
Jump up ^ See, e.g., Naremore (2008), pp. 81, 319 n. 13; Ballinger and Graydon (2007), pp. 86–88.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 30; Hirsch (2001), pp. 12, 202; Schrader (1972), pp. 59–61 [in Silver and Ursini].
Jump up ^ Schrader (1972), p. 61.
Jump up ^ See, e.g., Silver (1996), p. 11; Ottoson (1981), pp. 182–183; Schrader (1972), p. 61.
Jump up ^ See, e.g., Ballinger and Graydon (2007), pp. 19–53.
Jump up ^ 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.
Jump up ^ 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.
Jump up ^ Biesen (2005), p. 162.
Jump up ^ Ballinger and Graydon (2007), pp. 188, 202–3.
Jump up ^ 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.
Jump up ^ Bernstein (1995).
Jump up ^ McGilligan (1997), pp. 314–17.
Jump up ^ Staggs (2003), p. 141.
Jump up ^ Schatz (1998), pp. 354–58.
Jump up ^ See, e.g., Schatz (1981), pp. 103, 112.
Jump up ^ See, e.g., entries on individual films in Silver and Ward (1992), pp. 97–98, 125–26, 311–12.
Jump up ^ See Naremore (2008), pp. 140–55, on "B Pictures versus Intermediates".
Jump up ^ Ottoson (1981), p. 132.
Jump up ^ Naremore (2008), p. 173.
Jump up ^ Hayde (2001), pp. 3–4, 15–21, 37.
Jump up ^ Erickson (2004), p. 26.
Jump up ^ Sarris (1985), p. 93.
Jump up ^ Thomson (1998), p. 269.
Jump up ^ Naremore (2008), pp. 128, 150–51; Ballinger and Graydon (2007), pp. 97–99.
Jump up ^ Ballinger and Graydon (2007), pp. 59–60.
Jump up ^ Clarens (1980), pp. 245–47.
Jump up ^ See, e.g., Ballinger and Graydon (2007), pp. 83–85; Ottoson (1981), pp. 60–61.
Jump up ^ Muller (1998), pp. 176–77.
Jump up ^ Krutnik, Neale, and Neve (2008), pp. 259–60, 262–63.
Jump up ^ See Mackendrick (2006), pp. 119–20.
Jump up ^ See, e.g., Silver and Ward (1992), pp. 338–39. Ottoson (1981) also lists two period pieces directed by Siodmak (The Suspect [1944] and The Spiral Staircase [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 Beyond a Reasonable Doubt [1956]), plus the same two from the 1930s (passim). Silver and Ward list seven by Mann (p. 338). Ottoson also lists Reign of Terror (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.
Jump up ^ Clarens (1980), pp. 200–2; Walker (1992), pp. 139–45; Ballinger and Graydon (2007), pp. 77–79.
Jump up ^ Butler (2002), p. 12.
Jump up ^ Silver and Ward (1992), p. 1.
Jump up ^ See Palmer (2004), pp. 267–68, for a representative discussion of film noir as an international phenomenon.
Jump up ^ Spicer (2007), pp. 5–6, 26, 28, 59; Ballinger and Graydon (2007), pp. 14–15.
Jump up ^ Spicer (2007), pp. 32–39, 43; Ballinger and Graydon (2007), pp. 255–61.
Jump up ^ Spicer (2007), p. 9.
Jump up ^ Spicer (2007), pp. 16, 91–94, 96, 100; Ballinger and Graydon (2007), pp. 144, 249–55; Lyons (2000), p. 74, 81, 114–15.
Jump up ^ Spicer (2007), pp. 13, 28, 241; Ballinger and Graydon (2007), pp. 264, 266.
Jump up ^ Spicer (2007), pp. 19 n. 36, 28.
Jump up ^ Ballinger and Graydon (2007), pp. 266–68.
Jump up ^ Spicer (2007), p. 241; Ballinger and Graydon (2007), p. 257.
Jump up ^ Ballinger and Graydon (2007), pp. 253, 255, 263–64, 266, 267, 270–74; Abbas (1997), p. 34; Rainer, Peter (2010-04-09). "The Square (review)". Christian Science Monitor. Retrieved 2010-05-17.
Jump up ^ Schwartz, Ronald (2005). "Neo-Noir The New Film Noir Style from Psycho to Collateral" (PDF). The Scarecrow Press Inc. Retrieved 31 March 2013.
Jump up ^ "Cold War Noir and the Other Films about Korean War POWs". Retrieved 31 March 2013.
Jump up ^ Conway, Marianne B. "Korean War Film Noir: the POW Movies". Retrieved 31 March 2013.
Jump up ^ Ursini (1995), pp. 284–86; Ballinger and Graydon (2007), p. 278.
Jump up ^ Appel (1974), p. 4.
Jump up ^ Ballinger and Graydon (2007), p. 41.
Jump up ^ 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.
Jump up ^ Greene (1999), p. 161.
Jump up ^ 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.
Jump up ^ Kolker (2000), pp. 344, 363–73; Naremore (2008), pp. 203–5; Ballinger and Graydon (2007), pp. 36, 39, 130–33.
Jump up ^ Kolker (2000), p. 364; Ballinger and Graydon (2007), p. 132.
Jump up ^ Kolker (2000), pp. 207–44; Silver and Ward (1992), pp. 282–83; Naremore (1998), pp. 34–37, 192.
Jump up ^ Silver and Ward (1992), pp. 398–99.
Jump up ^ For Thieves Like Us, see Kolker (2000), pp. 358–63. For Farewell, My Lovely, see Kirgo (1980), pp. 101–2.
Jump up ^ Ursini (1995), p. 287.
^ Jump up to: a b Williams (2005), p. 229.
Jump up ^ For AFI ranking, see "AFI's 100 Years ... 100 Movies—10th Anniversary Edition". American Film Institute. 2007. Retrieved 2012-04-19. For kinship to classic noir boxing films, see Muller (1998), pp. 26–27.
Jump up ^ Silver and Ward (1992), pp. 400–1, 408.
Jump up ^ See, e.g., Grothe, Mardy, Viva la Repartee: Clever Comebacks and Witty Retorts from History's Great Wits & Wordsmiths (2005), p. 84.
Jump up ^ Ballinger and Graydon (2007), pp. 44, 47, 279–80.
Jump up ^ Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141.
Jump up ^ Wager (2005), p. 101–14.
Jump up ^ Lynch and Rodley (2005), p. 241.
Jump up ^ Hirsch (1999), pp. 245–47; Maslin (1996).
Jump up ^ For Miller's Crossing, see Martin (1997), p. 157; Naremore (2008), p. 214–15; Barra, Allen (2005-02-28). "From 'Red Harvest' to 'Deadwood'". Salon. Retrieved 2009-09-29. For The Big Lebowski, see Tyree and Walters (2007), pp. 40, 43–44, 48, 51, 65, 111; Ballinger and Graydon (2007), p. 237.
Jump up ^ James (2000), pp. xviii–xix.
Jump up ^ See, e.g., Silver and Ward (1992), pp. 398, 402, 407, 412.
Jump up ^ "Steele Michael" special feature, Remington Steele, season 3, disc 3 (Beverly Hills: 20th Century Fox Home Entertainment, 2006), DVD
Jump up ^ Ballinger and Graydon (2007), p. 279.
Jump up ^ Creeber, (2007), p. 3. The Singing Detective is the sole TV production cited in Corliss, Richard, and Richard Schickel (2005-05-23). "All-Time 100 Movies". Time.com. Archived from the original on 2010-11-18. Retrieved 2009-09-29.
Jump up ^ Ballinger and Graydon (2007), pp. 49, 51, 53, 235.
Jump up ^ Ballinger and Graydon (2007), p. 50.
Jump up ^ Hibbs, Thomas (2004-12-03). "Bale Imitation". National Review Online. Archived from the original on 2009-03-22. Retrieved 2010-02-11.
Jump up ^ Ballinger and Graydon (2007), pp. 107–109.
Jump up ^ Brennan, Mike (2005-04-04). "Sin City Original Motion Picture Soundtrack (review)". SoundtrackNet. Retrieved 2010-02-13. Phares, Heather. "Sin City Original Motion Picture Soundtrack (review)". Allmusic. Retrieved 2010-02-13.
Jump up ^ Macaulay, Scott (2009-05-19). "Cinema with Bite: On the Films of Park Chan-wook". Film in Focus. Retrieved 2009-09-29. Accomando, Beth (2009-08-20). "Thirst". KPBS.org. Retrieved 2009-09-29.
Jump up ^ "Neo Noir Movies at the Box Office". Box Office Mojo. Retrieved 2010-09-15.
Jump up ^ Naremore (2008), pp. 256, 295–96; Ballinger and Graydon (2007), p. 52.
Jump up ^ "2008 Film Poll Results". Village Voice. 2008-12-30. Retrieved 2009-09-29.
Jump up ^ Naremore (2008), p. 299; Hughes, Sarah (2006-03-26). "Humphrey Bogart's Back—But This Time Round He's at High School". Observer. Retrieved 2010-10-10.
Jump up ^ Hunter (1982), p. 197.
Jump up ^ Kennedy (1982), p. 65.
Jump up ^ Downs (2002), pp. 171, 173.
Jump up ^ Ballinger and Graydon (2007), p. 242.
Jump up ^ 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).
Jump up ^ Dougherty, Robin (1997-03-21). "Sleek Chrome + Bruised Thighs". Salon. Archived from the original on 2011-01-23. Retrieved 2009-09-29.
Jump up ^ "The Animatrix: A Detective Story (2003)". The New York Times. Retrieved 2014-03-26.
Jump up ^ Dargis (2004); Ballinger and Graydon (2007), p. 234; Jeffries, L.B. (2010-01-19). "The Film Noir Roots of Cowboy Bebop". PopMatters. Retrieved 2012-01-25.
Jump up ^ Matt Zoller Seitz (2015-04-09). "Ex Machina". rogerebert.com. Retrieved 2015-06-03.
^ Jump up to: a b Silver and Ward (1992), p. 332.
Jump up ^ Richardson (1992), p. 120.
Jump up ^ Naremore (2008), p. 158.
Jump up ^ See, e.g., Kolker (2000), pp. 238–41.
Jump up ^ Silver and Ward (1992), p. 419.
Jump up ^ Holden (1999).
Jump up ^ Irwin (2006), p. xii.
Jump up ^ Bould (2005), p. 18.
Jump up ^ Borde and Chaumeton (2002), pp. 161–63.
Jump up ^ Silver and Ward (1992) list 315 classic film noirs (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 Micheal F. Keaney's Film Noir Guide: 745 Films of the Classic Era, 1940–1959 (2003) is self-explanatory.
Jump up ^ 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).
Jump up ^ 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).
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), p. 8.
Jump up ^ See, e.g., Ray (1985), p. 159.
Jump up ^ Williams (2005), pp. 34–37.
Jump up ^ 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.
Jump up ^ Place and Peterson (1974), p. 67.
Jump up ^ Hirsch (2001), p. 67.
Jump up ^ Silver (1995), pp. 219, 222.
Jump up ^ Telotte (1989), pp. 74–87.
Jump up ^ Neale (2000), pp. 166–67 n. 5.
Jump up ^ Telotte (1989), p. 106.
Jump up ^ Rombes, Nicholas, New Punk Cinema (2005), pp. 131–36.
Jump up ^ Slocum (2001), p. 160.
Jump up ^ Server (2006), p. 149.
Jump up ^ Ottoson (1981), p. 143.
Jump up ^ See, e.g., Naremore (2008), p. 25; Lyons (2000), p. 10.
Jump up ^ Silver and Ward (1992), p. 6.
Jump up ^ See, e.g., Hirsch (2001), pp. 128, 150, 160, 213; Christopher (1998), pp. 4, 32, 75, 83, 116, 118, 128, 155.
Jump up ^ See, e.g., Hirsch (2001), p. 17; Christopher (1998), p. 17; Telotte (1989), p. 148.
Jump up ^ Ballinger and Graydon (2007), pp. 217–18; Hirsch (2001), p. 64.
Jump up ^ See, e.g., Bould (2005), p. 18, on the critical establishment of this iconography, as well as p. 35; Hirsch (2001), p. 213; Christopher (1998), p. 7.
Jump up ^ Holm (2005), pp. 13–25 passim.
Jump up ^ 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.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), pp. 7–8.
Jump up ^ Christopher (1998), p. 37.
Jump up ^ See, e.g., Muller (1998), p. 81, on analyses of the film; Silver and Ward (1992), p. 2.
Jump up ^ See, e.g., Naremore (2008), p. 163, on critical claims of moral ambiguity; Lyons (2000), pp. 14, 32.
Jump up ^ See Skoble (2006), pp. 41–48, for a survey of noir morality.
Jump up ^ Ottoson (1981), p. 1.
Jump up ^ 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").
Jump up ^ 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).
Jump up ^ Sanders (2006), p. 100.
Jump up ^ "film noir". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2009-02-10. Inflected Form(s): plural film noirs \-'nwär(z)\ or films noir or films noirs \-'nwär\
Jump up ^ Server (2002), pp. 182–98, 209–16; Downs (2002), p. 171; Ottoson (1981), pp. 82–83.
1927
Underworld
1928
The Docks of New York
The Racket
1929
Thunderbolt
1930
Paid
1931
The Big Gamble
Blonde Crazy
City Streets
Five Star Final
Little Caesar
The Maltese Falcon (aka Dangerous Female)
Quick Millions
The Public Enemy
1932
The Beast of the City
I Am a Fugitive from a Chain Gang
Night Court
Payment Deferred
Scarface
Two Seconds
20,000 Years in Sing Sing
1933
Blood Money
Private Detective 62
1934
Crime Without Passion
Midnight
1935
Bordertown
The Florentine Dagger
G Men
The Glass Key
The Scoundrel
1936
Bullets or Ballots
Fury
Great Guy
Muss 'Em Up
The Petrified Forest
Satan Met a Lady
1937
Black Legion
Dead End
Kid Galahad
Marked Woman
San Quentin
You Only Live Once
They Gave Him a Gun
They Won't Forget
1938
Algiers
The Amazing Dr. Clitterhouse
Angels with Dirty Faces
1939
Blind Alley
Each Dawn I Die
Invisible Stripes
King of the Underworld
Let Us Live
Rio
The Roaring Twenties
They Made Me a Criminal
1940
Angels Over Broadway
City for Conquest
Johnny Apollo
Non-American
Dr. Mabuse, der Spieler (Dr. Mabuse the Gambler) (1922, Germany)
Asphalt (1929, Germany)
La Chienne (1931, France)
M (1931, Germany)
Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse) (1933, Germany)
La Bandera (Escape from Yesterday) (1935, France)
The Green Cockatoo (1937, United Kingdom)
Pépé le Moko (1937, France)
La Bête Humaine (The Human Beast) (1938, France)
Hôtel du Nord (1938, France)
Le Quai des brumes (Port of Shadows) (1938, France)
They Drive by Night (1938, United Kingdom)
Le Dernier tournant (The Last Turning) (1939, France)
Le Jour se lève (Daybreak) (1939, France)
On the Night of the Fire (aka The Fugitive) (1939, United Kingdom)
Classic American noir
1940
The Letter
Stranger on the Third Floor
They Drive by Night
Rebecca
1941
Among the Living
Blues in the Night
High Sierra
I Wake Up Screaming
Johnny Eager
Ladies in Retirement
The Maltese Falcon
Out of the Fog
Rage in Heaven
Suspicion
The Shanghai Gesture
A Woman's Face
1942
Crossroads
The Glass Key
Moontide
Street of Chance
This Gun for Hire
1943
Calling Dr. Death
The Fallen Sparrow
Journey into Fear
The Seventh Victim
Shadow of a Doubt
Whispering Footsteps
1944
Bluebeard
Christmas Holiday
Dangerous Passage
Dark Waters
Destiny
Double Indemnity
Experiment Perilous
Gaslight[b]
Guest in the House (aka Satan in Skirts)
Laura
Lady in the Death House
The Lodger
The Mark of the Whistler - Whistler series
The Mask of Dimitrios
Ministry of Fear
Murder, My Sweet (aka Farewell, My Lovely)
Phantom Lady
Strangers in the Night
The Suspect
Voice in the Wind
When Strangers Marry (aka Betrayed)
The Whistler - Whistler series
The Woman in the Window
1945
Apology for Murder
Bewitched
Circumstantial Evidence
Conflict
Cornered
Danger Signal
Dangerous Intruder
Detour
Escape in the Fog
Fallen Angel
The Great Flamarion
Hangover Square
The House on 92nd Street
Jealousy
Johnny Angel
The Lady Confesses
The Lost Weekend
Mildred Pierce
My Name is Julia Ross
The Power of the Whistler - Whistler series
Scarlet Street
Spellbound
The Spider
The Strange Affair of Uncle Harry
Two O'Clock Courage
The Unseen
Voice of the Whistler - Whistler series
1946
Accomplice
The Big Sleep
Black Angel
The Blue Dahlia
The Chase
Crack-Up
Criminal Court
The Dark Corner
The Dark Mirror
Deadline at Dawn
Deception
Decoy
Fear
Gilda
The Glass Alibi
Her Kind of Man
Humoresque
Inside Job
The Killers
The Locket
The Mask of Diijon
Mysterious Intruder - Whistler series
The Mysterious Mr. Valentine
Night Editor
Nobody Lives Forever
Nocturne
Notorious
The Postman Always Rings Twice
The Secret of the Whistler - Whistler series
Shadow of a Woman
Shock
So Dark the Night
Somewhere in the Night
Specter of the Rose
The Spiral Staircase
Strange Impersonation
The Strange Love of Martha Ivers
Strange Triangle
The Strange Woman
The Stranger
Suspense
Temptation
They Made Me a Killer
Three Strangers
Two Smart People
Undercurrent
The Verdict
Whistle Stop
1947
The Arnelo Affair
Backlash
Blackmail
Blind Spot
Body and Soul
Boomerang
Born to Kill
The Brasher Doubloon
Brute Force
Bury Me Dead
Calcutta
Crossfire
Cry Wolf
Dark Passage
Dead Reckoning
Deep Valley
Desperate
The Devil Thumbs a Ride
A Double Life
Fall Guy
Fear in the Night
The Flame
For You I Die
Framed
The Gangster
The Guilty
High Tide
High Wall
The Invisible Wall
Ivy
Johnny O'Clock
Key Witness
Kiss of Death[
The Lady from Shanghai
Lady in the Lake
The Long Night
Love from a Stranger
Lured (aka Personal Column
The Macomber Affair
The Man I Love
Moss Rose
Nightmare Alley
Nora Prentiss
Out of the Past
The Paradine Case
Possessed
The Pretender
Railroaded!
The Red House
Repeat Performance
Ride the Pink Horse
Riffraff
Shoot to Kill
Singapore
T-Men
They Won't Believe Me
The Thirteenth Hour - Whistler series
The Two Mrs. Carrolls
The Unfaithful
The Unsuspected
Violence
The Web
Whispering City
The Woman on the Beach
References
Jump up ^ 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 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.
Jump up ^ Naremore (2008), pp. 4, 15–16, 18, 41; Ballinger and Graydon (2007), pp. 4–5, 22, 255.
Jump up ^ Greenspun (1973), p. 32.
Jump up ^ Ballinger and Graydon (2007), p. 3.
Jump up ^ Borde and Chaumeton (2002), p. 2.
Jump up ^ Borde and Chaumeton (2002), pp. 2–3.
Jump up ^ Bould (2005), p. 13.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Bould (2005), p. 12; Place and Peterson (1974).
Jump up ^ See, e.g., Naremore (2008), p. 167–68; Irwin (2006), p. 210.
Jump up ^ Neale (2000), p. 166; Vernet (1993), p. 2; Naremore (2008), pp. 17, 122, 124, 140; Bould (2005), p. 19.
Jump up ^ 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).
Jump up ^ Ottoson (1981), pp. 2–3.
Jump up ^ See Dancyger and Rush (2002), p. 68, for a detailed comparison of screwball comedy and film noir.
Jump up ^ Schatz (1981), pp. 111–15.
Jump up ^ Silver (1996), pp. 4, 6 passim. See also Bould (2005), pp. 3, 4; Hirsch (2001), p. 11.
Jump up ^ Silver (1996), pp. 3, 6 passim. See also Place and Peterson (1974).
Jump up ^ Silver (1996), pp. 7–10.
Jump up ^ See, e.g., Jones (2009).
Jump up ^ See, e.g., Borde and Chaumeton (2002), pp. 1–7 passim.
Jump up ^ See, e.g., Telotte (1989), pp. 10–11, 15 passim.
Jump up ^ For survey of the lexical variety, see Naremore (2008), pp. 9, 311–12 n. 1.
Jump up ^ Bould (2005), pp. 24–33.
Jump up ^ Ballinger and Graydon (2007), pp. 9–11.
Jump up ^ Vernet (1993), p. 15.
Jump up ^ Ballinger and Graydon (2007), pp. 11–13.
Jump up ^ Davis (2004), p. 194. See also Ballinger and Graydon (2007), p. 133; Ottoson (1981), pp. 110–111. Vernet (1993) notes that the sort of techniques now associated with Expressionism were evident in the American cinema from the mid-1910s forward (pp. 9–12).
Jump up ^ Ballinger and Graydon (2007), p. 6.
Jump up ^ Ballinger and Graydon (2007), pp. 6–9; Silver and Ward (1992), pp. 323–24.
Jump up ^ Spicer (2007), pp. 26, 28; Ballinger and Graydon (2007), pp. 13–15; Bould (2005), pp. 33–40.
Jump up ^ McGarry (1980), p. 139.
Jump up ^ Ballinger and Graydon (2007), p. 20; Schatz (1981), pp. 116–22; Ottoson (1981), p. 2.
Jump up ^ Biesen (2005), p. 207.
Jump up ^ Naremore (2008), pp. 13–14.
Jump up ^ Krutnik, Neale, and Neve (2008), pp. 147–148; Macek and Silver (1980), p. 135.
Jump up ^ Widdicombe (2001), pp. 37–39, 59–60, 118–19; Doherty, Jim. "Carmady". Thrilling Detective Web Site. Retrieved 2010-02-25.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 6; Macek (1980), pp. 59–60.
Jump up ^ Irwin (2006), pp. 71, 95–96.
Jump up ^ Irwin (2006), pp. 123–24, 129–30.
Jump up ^ White (1980), p. 17.
Jump up ^ Irwin (2006), pp. 97–98, 188–89.
Jump up ^ 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.
^ Jump up to: a b See, e.g., Ballinger and Graydon (2007), p. 19; Irwin (2006), p. 210; Lyons (2000), p. 36; Porfirio (1980), p. 269.
Jump up ^ Biesen (2005), p. 33.
Jump up ^ Variety (1940).
Jump up ^ Marshman (1947), pp. 100–1.
Jump up ^ Ballinger and Graydon (2007), p. 4, 19–26, 28–33; Hirsch (2001), pp. 1–21; Schatz (1981), pp. 111–16.
Jump up ^ See, e.g., Naremore (2008), pp. 81, 319 n. 13; Ballinger and Graydon (2007), pp. 86–88.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 30; Hirsch (2001), pp. 12, 202; Schrader (1972), pp. 59–61 [in Silver and Ursini].
Jump up ^ Schrader (1972), p. 61.
Jump up ^ See, e.g., Silver (1996), p. 11; Ottoson (1981), pp. 182–183; Schrader (1972), p. 61.
Jump up ^ See, e.g., Ballinger and Graydon (2007), pp. 19–53.
Jump up ^ 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.
Jump up ^ 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.
Jump up ^ Biesen (2005), p. 162.
Jump up ^ Ballinger and Graydon (2007), pp. 188, 202–3.
Jump up ^ 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.
Jump up ^ Bernstein (1995).
Jump up ^ McGilligan (1997), pp. 314–17.
Jump up ^ Staggs (2003), p. 141.
Jump up ^ Schatz (1998), pp. 354–58.
Jump up ^ See, e.g., Schatz (1981), pp. 103, 112.
Jump up ^ See, e.g., entries on individual films in Silver and Ward (1992), pp. 97–98, 125–26, 311–12.
Jump up ^ See Naremore (2008), pp. 140–55, on "B Pictures versus Intermediates".
Jump up ^ Ottoson (1981), p. 132.
Jump up ^ Naremore (2008), p. 173.
Jump up ^ Hayde (2001), pp. 3–4, 15–21, 37.
Jump up ^ Erickson (2004), p. 26.
Jump up ^ Sarris (1985), p. 93.
Jump up ^ Thomson (1998), p. 269.
Jump up ^ Naremore (2008), pp. 128, 150–51; Ballinger and Graydon (2007), pp. 97–99.
Jump up ^ Ballinger and Graydon (2007), pp. 59–60.
Jump up ^ Clarens (1980), pp. 245–47.
Jump up ^ See, e.g., Ballinger and Graydon (2007), pp. 83–85; Ottoson (1981), pp. 60–61.
Jump up ^ Muller (1998), pp. 176–77.
Jump up ^ Krutnik, Neale, and Neve (2008), pp. 259–60, 262–63.
Jump up ^ See Mackendrick (2006), pp. 119–20.
Jump up ^ See, e.g., Silver and Ward (1992), pp. 338–39. Ottoson (1981) also lists two period pieces directed by Siodmak (The Suspect [1944] and The Spiral Staircase [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 Beyond a Reasonable Doubt [1956]), plus the same two from the 1930s (passim). Silver and Ward list seven by Mann (p. 338). Ottoson also lists Reign of Terror (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.
Jump up ^ Clarens (1980), pp. 200–2; Walker (1992), pp. 139–45; Ballinger and Graydon (2007), pp. 77–79.
Jump up ^ Butler (2002), p. 12.
Jump up ^ Silver and Ward (1992), p. 1.
Jump up ^ See Palmer (2004), pp. 267–68, for a representative discussion of film noir as an international phenomenon.
Jump up ^ Spicer (2007), pp. 5–6, 26, 28, 59; Ballinger and Graydon (2007), pp. 14–15.
Jump up ^ Spicer (2007), pp. 32–39, 43; Ballinger and Graydon (2007), pp. 255–61.
Jump up ^ Spicer (2007), p. 9.
Jump up ^ Spicer (2007), pp. 16, 91–94, 96, 100; Ballinger and Graydon (2007), pp. 144, 249–55; Lyons (2000), p. 74, 81, 114–15.
Jump up ^ Spicer (2007), pp. 13, 28, 241; Ballinger and Graydon (2007), pp. 264, 266.
Jump up ^ Spicer (2007), pp. 19 n. 36, 28.
Jump up ^ Ballinger and Graydon (2007), pp. 266–68.
Jump up ^ Spicer (2007), p. 241; Ballinger and Graydon (2007), p. 257.
Jump up ^ Ballinger and Graydon (2007), pp. 253, 255, 263–64, 266, 267, 270–74; Abbas (1997), p. 34; Rainer, Peter (2010-04-09). "The Square (review)". Christian Science Monitor. Retrieved 2010-05-17.
Jump up ^ Schwartz, Ronald (2005). "Neo-Noir The New Film Noir Style from Psycho to Collateral" (PDF). The Scarecrow Press Inc. Retrieved 31 March 2013.
Jump up ^ "Cold War Noir and the Other Films about Korean War POWs". Retrieved 31 March 2013.
Jump up ^ Conway, Marianne B. "Korean War Film Noir: the POW Movies". Retrieved 31 March 2013.
Jump up ^ Ursini (1995), pp. 284–86; Ballinger and Graydon (2007), p. 278.
Jump up ^ Appel (1974), p. 4.
Jump up ^ Ballinger and Graydon (2007), p. 41.
Jump up ^ 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.
Jump up ^ Greene (1999), p. 161.
Jump up ^ 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.
Jump up ^ Kolker (2000), pp. 344, 363–73; Naremore (2008), pp. 203–5; Ballinger and Graydon (2007), pp. 36, 39, 130–33.
Jump up ^ Kolker (2000), p. 364; Ballinger and Graydon (2007), p. 132.
Jump up ^ Kolker (2000), pp. 207–44; Silver and Ward (1992), pp. 282–83; Naremore (1998), pp. 34–37, 192.
Jump up ^ Silver and Ward (1992), pp. 398–99.
Jump up ^ For Thieves Like Us, see Kolker (2000), pp. 358–63. For Farewell, My Lovely, see Kirgo (1980), pp. 101–2.
Jump up ^ Ursini (1995), p. 287.
^ Jump up to: a b Williams (2005), p. 229.
Jump up ^ For AFI ranking, see "AFI's 100 Years ... 100 Movies—10th Anniversary Edition". American Film Institute. 2007. Retrieved 2012-04-19. For kinship to classic noir boxing films, see Muller (1998), pp. 26–27.
Jump up ^ Silver and Ward (1992), pp. 400–1, 408.
Jump up ^ See, e.g., Grothe, Mardy, Viva la Repartee: Clever Comebacks and Witty Retorts from History's Great Wits & Wordsmiths (2005), p. 84.
Jump up ^ Ballinger and Graydon (2007), pp. 44, 47, 279–80.
Jump up ^ Naremore (2008), p. 275; Wager (2005), p. 83; Hanson (2008), p. 141.
Jump up ^ Wager (2005), p. 101–14.
Jump up ^ Lynch and Rodley (2005), p. 241.
Jump up ^ Hirsch (1999), pp. 245–47; Maslin (1996).
Jump up ^ For Miller's Crossing, see Martin (1997), p. 157; Naremore (2008), p. 214–15; Barra, Allen (2005-02-28). "From 'Red Harvest' to 'Deadwood'". Salon. Retrieved 2009-09-29. For The Big Lebowski, see Tyree and Walters (2007), pp. 40, 43–44, 48, 51, 65, 111; Ballinger and Graydon (2007), p. 237.
Jump up ^ James (2000), pp. xviii–xix.
Jump up ^ See, e.g., Silver and Ward (1992), pp. 398, 402, 407, 412.
Jump up ^ "Steele Michael" special feature, Remington Steele, season 3, disc 3 (Beverly Hills: 20th Century Fox Home Entertainment, 2006), DVD
Jump up ^ Ballinger and Graydon (2007), p. 279.
Jump up ^ Creeber, (2007), p. 3. The Singing Detective is the sole TV production cited in Corliss, Richard, and Richard Schickel (2005-05-23). "All-Time 100 Movies". Time.com. Archived from the original on 2010-11-18. Retrieved 2009-09-29.
Jump up ^ Ballinger and Graydon (2007), pp. 49, 51, 53, 235.
Jump up ^ Ballinger and Graydon (2007), p. 50.
Jump up ^ Hibbs, Thomas (2004-12-03). "Bale Imitation". National Review Online. Archived from the original on 2009-03-22. Retrieved 2010-02-11.
Jump up ^ Ballinger and Graydon (2007), pp. 107–109.
Jump up ^ Brennan, Mike (2005-04-04). "Sin City Original Motion Picture Soundtrack (review)". SoundtrackNet. Retrieved 2010-02-13. Phares, Heather. "Sin City Original Motion Picture Soundtrack (review)". Allmusic. Retrieved 2010-02-13.
Jump up ^ Macaulay, Scott (2009-05-19). "Cinema with Bite: On the Films of Park Chan-wook". Film in Focus. Retrieved 2009-09-29. Accomando, Beth (2009-08-20). "Thirst". KPBS.org. Retrieved 2009-09-29.
Jump up ^ "Neo Noir Movies at the Box Office". Box Office Mojo. Retrieved 2010-09-15.
Jump up ^ Naremore (2008), pp. 256, 295–96; Ballinger and Graydon (2007), p. 52.
Jump up ^ "2008 Film Poll Results". Village Voice. 2008-12-30. Retrieved 2009-09-29.
Jump up ^ Naremore (2008), p. 299; Hughes, Sarah (2006-03-26). "Humphrey Bogart's Back—But This Time Round He's at High School". Observer. Retrieved 2010-10-10.
Jump up ^ Hunter (1982), p. 197.
Jump up ^ Kennedy (1982), p. 65.
Jump up ^ Downs (2002), pp. 171, 173.
Jump up ^ Ballinger and Graydon (2007), p. 242.
Jump up ^ 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).
Jump up ^ Dougherty, Robin (1997-03-21). "Sleek Chrome + Bruised Thighs". Salon. Archived from the original on 2011-01-23. Retrieved 2009-09-29.
Jump up ^ "The Animatrix: A Detective Story (2003)". The New York Times. Retrieved 2014-03-26.
Jump up ^ Dargis (2004); Ballinger and Graydon (2007), p. 234; Jeffries, L.B. (2010-01-19). "The Film Noir Roots of Cowboy Bebop". PopMatters. Retrieved 2012-01-25.
Jump up ^ Matt Zoller Seitz (2015-04-09). "Ex Machina". rogerebert.com. Retrieved 2015-06-03.
^ Jump up to: a b Silver and Ward (1992), p. 332.
Jump up ^ Richardson (1992), p. 120.
Jump up ^ Naremore (2008), p. 158.
Jump up ^ See, e.g., Kolker (2000), pp. 238–41.
Jump up ^ Silver and Ward (1992), p. 419.
Jump up ^ Holden (1999).
Jump up ^ Irwin (2006), p. xii.
Jump up ^ Bould (2005), p. 18.
Jump up ^ Borde and Chaumeton (2002), pp. 161–63.
Jump up ^ Silver and Ward (1992) list 315 classic film noirs (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 Micheal F. Keaney's Film Noir Guide: 745 Films of the Classic Era, 1940–1959 (2003) is self-explanatory.
Jump up ^ 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).
Jump up ^ 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).
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), p. 8.
Jump up ^ See, e.g., Ray (1985), p. 159.
Jump up ^ Williams (2005), pp. 34–37.
Jump up ^ 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.
Jump up ^ Place and Peterson (1974), p. 67.
Jump up ^ Hirsch (2001), p. 67.
Jump up ^ Silver (1995), pp. 219, 222.
Jump up ^ Telotte (1989), pp. 74–87.
Jump up ^ Neale (2000), pp. 166–67 n. 5.
Jump up ^ Telotte (1989), p. 106.
Jump up ^ Rombes, Nicholas, New Punk Cinema (2005), pp. 131–36.
Jump up ^ Slocum (2001), p. 160.
Jump up ^ Server (2006), p. 149.
Jump up ^ Ottoson (1981), p. 143.
Jump up ^ See, e.g., Naremore (2008), p. 25; Lyons (2000), p. 10.
Jump up ^ Silver and Ward (1992), p. 6.
Jump up ^ See, e.g., Hirsch (2001), pp. 128, 150, 160, 213; Christopher (1998), pp. 4, 32, 75, 83, 116, 118, 128, 155.
Jump up ^ See, e.g., Hirsch (2001), p. 17; Christopher (1998), p. 17; Telotte (1989), p. 148.
Jump up ^ Ballinger and Graydon (2007), pp. 217–18; Hirsch (2001), p. 64.
Jump up ^ See, e.g., Bould (2005), p. 18, on the critical establishment of this iconography, as well as p. 35; Hirsch (2001), p. 213; Christopher (1998), p. 7.
Jump up ^ Holm (2005), pp. 13–25 passim.
Jump up ^ 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.
Jump up ^ See, e.g., Ballinger and Graydon (2007), p. 4; Christopher (1998), pp. 7–8.
Jump up ^ Christopher (1998), p. 37.
Jump up ^ See, e.g., Muller (1998), p. 81, on analyses of the film; Silver and Ward (1992), p. 2.
Jump up ^ See, e.g., Naremore (2008), p. 163, on critical claims of moral ambiguity; Lyons (2000), pp. 14, 32.
Jump up ^ See Skoble (2006), pp. 41–48, for a survey of noir morality.
Jump up ^ Ottoson (1981), p. 1.
Jump up ^ 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").
Jump up ^ 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).
Jump up ^ Sanders (2006), p. 100.
Jump up ^ "film noir". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2009-02-10. Inflected Form(s): plural film noirs \-'nwär(z)\ or films noir or films noirs \-'nwär\
Jump up ^ Server (2002), pp. 182–98, 209–16; Downs (2002), p. 171; Ottoson (1981), pp. 82–83.