Classic French noir: gender and the cinema of fatal desire
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
I.B. Tauris
2019
|
| Schriftenreihe: | International library of the moving image
57 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiii, 274 Seiten Illustrationen |
| ISBN: | 9781784539719 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804179273955672065 |
|---|---|
| adam_text | Contents
List of Illustrations x
Acknowledgements xii
PART I SETTING THE SCENE
1. Introduction 3
Defining film noir 4
Corpus 5
French and American film noir: historical links 6
Sociological theory 7
Constructivism and psychoanalysis 8
Biocultural approaches 9
Evolutionary psychology 10
The biocultural turn in evolutionary science 12
A biocultural approach to gender: similarity and
difference 14
The cinema of fatal desire 16
2. Fatal(e) Desire in French Poetic Realism 18
Introduction: poetic realism as proto-noir 18
Gendered figures in poetic realism 19
Star-crossed lovers: the tragic hero and French
fatale as fa tali taire 20
Conclusion 27
PART II THE LONG SHADOW OF WAR
3. Looking for the Light 31
Introduction: invasion, occupation, collaboration 31
A cinema of paradox 32
Les Années noires and crime drama 33
Liberation crime drama and the myth
of the Resistance 40
v
Classic French Noir
Le réalisme noir and flawed masculinity 41
Conclusion 49
4. Too Many Women? War and Fatal(e) Desire 50
Introduction 50
Classic American femme fatale as spider woman 51
French fatale: ‘Cherchez la femme’ 53
War, demographics and assertive femininity:
sex ratio theory 59
Conclusion 67
PART III CHERCHEZ LA FEMME
5. Fatal(e) Passions: Tragic Fatalitaires and
Star-Crossed Lovers 71
Introduction: passionate love as universal human
adaptation 71
Love styles 73
Star-crossed lovers 74
Male sexual jealousy 79
Simone Signoret as modern girl and prostitute fatalitaire 80
Femininity as masquerade? 83
Evil pimps 85
Race, class and gender in firai cracher sur vos tombes
[I will Spit on your Graves] (Gast, 1959) 86
Conclusion 93
6. ‘Thou Shalt Not Covet’: Adulterous Fatalitaires 94
Introduction: what do women want? 94
Le dernier tournant [The Last Turn] (Chenal, 1939) 96
The Postman Always Rings Twice
(Garnett, USA, 1946) 97
From fatalitaire to femme fatale 99
Thérèse Raquin [The Adulteress] (Carné, France/
Italy, 1953) 104
Ascenseur pour Véchafaud
[Lift to The Scaffold] (Malle, 1958) 106
Conclusion 111
vi
Contents
7. Bad Girls 113
Introduction: the bad-girl fatale as archetypal
unruly woman 113
The unruly femme and male paranoia 114
What does the femme want? 116
Demonic fa ta le as amoureuse 117
The long shadow of war 119
The unglamorous fatale as camouflage 120
Paranoia, lethal femme power and risk 122
Woman as spectacle and exchange object 128
The femme as avenging angel 132
Conclusion: from spectacle to subjectivity 134
PART IV CHERCHEZ L’HOMME
8. Fatal Men 139
Introduction 139
L’homme fatal 140
Bonnes à tuer [One Step to Eternity] (Decoin, 1954) 140
Une Manche et la Belle [A Kiss For A Killer]
(Verneuil, 1957) 148
La Bête à L Affût [Beast at Bay] (Chenal, 1959):
after Forests of the Night (Keene, 1956) 155
Conclusion 160
9. Law Enforcers Meet the Femme 162
Introduction 162
Honourable cops and shady dames 163
Cops and robbers: blurred boundaries 165
Investigating the femme 169
En cas de Malheur [Love is my Profession]
(Autant-Lara, France/Italy, 1956) 172
From protection to violent surveillance:
the bodyguard hypothesis 176
Bardot as new fatalitaire 180
Conclusion 181
vii
Classic French Noir
10. Love and Money: Gender and Consumption in
Gangster Noir 183
Introduction 183
Urban spaces of conspicuous consumption 184
Conspicuous consumption, honour and
hyper-masculinity 186
Reconfiguring left-handed endeavour as
collaborative labour 187
Females in (gangster) noir: insatiable consumers 189
Domestic spaces: tradition vs modernity 192
Iconic objects of conspicuous consumption:
the ultimate consumer durable 195
Rififi: questioning gangster culture 198
Du rififi chez les femmes: the first French noir
action babe 201
Conclusion 203
PART V CONCLUSIONS
Classic French Noir: The Dark Side of ‘Quality5
Cinema (1946 - 59) 207
Gender and power in classic French noir 209
Noir as sociohistorically inflected dramas of
mate selection 210
French fatale as romantic fatalitaire 211
French noir as an evolving constant 212
Directions for future research 213
APPENDICES
Appendix 1: 101 French Films Noirs 217
Filmography layout 217
1930s: poetic realism/early noir (18) 217
1941-4 Occupation noir (8) 218
1946-59 Classic French noir (75) 219
Appendix 2: Tables 223
viii
Contents
Notes 226
Bibliography 247
Index 261
ix
French film noir has long been seen as a phenomenon distinct from
its Hollywood counterpart. This book — an innovative departure
from conventional noir scholarship — adopts a biocultural approach
to exploring the French genre through the years 1941 to 1959. Walker-
Morrison addresses Gallic noir as a product of the social and cultural
factors at play in occupied, liberated and post-war France: marked
by malaise at military defeat, Nazi collaboration and the impact
of rapid industrialisation. Furthermore, the book looks beneath
the national context to uncover the evolutionary mechanisms of
sexuality and reproduction that drive gendered behaviour on screen.
During this period, for example, the urgent demand for population
growth, coupled with a severe shortage of eligible males, rendered •
the mating game particularly perilous for women beginning to
enter the workplace. This helps explain the seductive, sometimes
cynical behaviour of the femme fatale. Walker-Morrison focuses on
the dangerous, often deadly, desires of an array of male and female
character types: moving past the celebrated, fatal femme to tragic
heroines, psychopathic narcissists, fatal hommes and gangster anti-
heroes. The book re-examines productions by celebrated directors
such as Henri-Georges Clouzot and Jacques Becker, and introduces
many lesser-known films, pulling together strands of sociological,
biological, psychological and evolutionary science to create an
illuminating study of the fatal desires of French noir.
|
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| title | Classic French noir gender and the cinema of fatal desire |
| title_auth | Classic French noir gender and the cinema of fatal desire |
| title_exact_search | Classic French noir gender and the cinema of fatal desire |
| title_full | Classic French noir gender and the cinema of fatal desire Deborah Walker-Morrison |
| title_fullStr | Classic French noir gender and the cinema of fatal desire Deborah Walker-Morrison |
| title_full_unstemmed | Classic French noir gender and the cinema of fatal desire Deborah Walker-Morrison |
| title_short | Classic French noir |
| title_sort | classic french noir gender and the cinema of fatal desire |
| title_sub | gender and the cinema of fatal desire |
| topic | Film noir (DE-588)4116435-0 gnd |
| topic_facet | Film noir Frankreich |
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