The interesting thing about that list is how it bundles pre-code USA with out-and-out noir from France in the early portions of the decade. We don't tend to view those pre-codes as "out-and-out" noir, but some kind of inchoate precursor, while the French films are more and more being seen in such a light--perhaps due to that early flurry of Simenon adaptations which more definitively establish that combination of "hard-boiled plus strangeness" that is a key neon-light signifier for what we term "noir."
When we try to figure why the US crime films post-dating the Production Code (June '34) have been left out of the noir discussion for so long, we run up against the "hard-boiled paradigm" that Dan has taken after on many occasions. That'd be a good topic for someone to explore in greater detail and make some sense of--what is it about these films that seems to be lacking, and is it actually lacking in some way? Or is it just that the original scholars simply failed to dig deep enough into the past before concocting their theories?
The list would suggest that British noir is late to the party aside from the Hitchcock films--that would seem to be borne out by the filmography. My quick count was maybe five non-Hitch Brit films on the list...