Haacke, Paul. "The Melancholic VoiceOver in Film Noir." JCMS: Journal of Cinema and Media Studies 58.2 (Winter 2019): 46-70.
Hadjioannou, Markos. "In the Cold Night of the Day: On Film Noir, Hitchcock, and Identity." Cultural Critique 94 (Fall 2016): 127-155. [Incorporates a review of Elisabeth Bronfen's Night Passages: Philosophy, Literature, and Film (New York: Columbia UP, 2013) into a lengthy essay on the nocturnal, the femme fatale, and Shadow of a Doubt (1943).]
Hain, Milan. "Hollywood Film as Therapy: Hugo Haas, Trauma, and Survivor Guilt." Jewish Film & New Media 7.1 (Spring 2019): 1-22. [On Haas' life and his films The Girl on the Bridge (1951) and Strange Fascination (1952).]
Hales, Barbara. "Projecting Trauma: The Femme Fatale in Weimar and Hollywood Film Noir." Women in German Yearbook 23 (2007): 224-243.
Hall, Jeanne. "'A Little Trouble with Perspective': Art and Authorship in Fritz Lang's Scarlet Street." Film Criticism 21.1 (Fall 1996): 34-47.
Hall, Kenneth E., and Christian Krug. "Noir Westerns after World War II." Studies in the Western 22 (2014): 81-112. [On Pursued (1947), Blood on the Moon (1948), Run for Cover (1955), and No Name on the Bullet (1959) in comparison with No Country for Old Men (2007).]
Hallen, Elinor. "Film Noir and Weakly Intentional Actions: An Anscombian Analysis." Philosophical Topics 44.1 (Spring 2016): 239-264.
Hands, Stuart. "Body and Soul: John Garfield, Abraham Polonsky and the American Jewish Family." CineAction 79 (2010): 36-45.
Hanson, Philip. "The Arc of National Confidence and the Birth of Film Noir, 1929-1941." Journal of American Studies 42.3 (December 2008): 387-414.
Hantke, Steffen. "Boundary Crossing and the Construction of Cinematic Genre: Film Noir as 'Deferred Action.'" Kinema: A Journal for Film and Audiovisual Media 22 (2004): 5-18.
--. "Hitchcock at War: Shadow of a Doubt, Wartime Propaganda, and the Director as Star." Journal of Popular Film and Television 44.3 (July-September 2016): 159-168.
Hardy, Ann. "In a Lonely Place, Directed by Nicholas Ray, USA, 1950." Couple and Family Psychoanalysis 9.1 (2019): 86-87.
Harris, Oliver. "Film Noir Fascination: Outside History, but Historically So." Cinema Journal 43.1 (Fall 2003): 3-24. [The Killers (1946) as fertile ground for theory on cinema spectatorship and historical experience.]
--. "Killing 'The Killers': Hemingway, Hollywood, and Death." Essays and Studies 2005 (2005): 74-95.
Harvey, John. "Out of the Light: An Analysis of Narrative in Out of the Past." Journal of American Studies 18.1 (April 1984): 73-87.
Haslem, Wendy. "Romance and Paranoia in The Big Sleep (1946)." Australian Screen Education 29 (2002): 164-167.
Hausladen, Gary J., and Paul F. Starrs. "L.A. Noir." Journal of Cultural Geography 23.1 (Fall-Winter 2005): 43-69. [Compares the use of setting in The Big Sleep (1946), Sunset Boulevard (1950), and Kiss Me Deadly (1955) with later films set in Los Angeles.]
Haworth, Catherine. "Detective Agency? Scoring the Amateur Female Investigator in 1940s Hollywood." Music and Letters 93.4 (2012): 543-573. [On music scores for Stranger on the Third Floor (1940), Two O'clock Courage (1945), Deadline at Dawn (1946), and The Big Steal (1949).]
--. '"Something beneath the flesh': Music, Gender, and Medical Discourse in the 1940s Female Gothic Film." Journal of the Society for American Music 8.3 (2014): 338-370.
Hearne, Joanna. "The 'Ache for Home' in Anthony Mann's Devil's Doorway (1950)." Film & History: An Interdisciplinary Journal of Film and Television Studies 33.1 (2003): 18-29.
Heins, Laura. "Criss-Crossings of Robert Siodmak: The Time and Space of Cinematic Exile." Amsterdamer Beitrage zur Neueren Germanistik 68.1 (2009): 201-222. [How the director's exilic experience is reflected in his American noirs and post-war German films.]
Heldt, Guido. "Music and Mildred Pierce, 1945 and 2011." Screen 54.3 (Autumn 2013): 403-409.
Henderson, Kevin. "'Why Do You Make Me Do This?': Spectator Empathy, Self-Loathing Lawmen and Nicholas Ray's Noir Vision in On Dangerous Ground." Interdisciplinary Humanities 33.1 (Spring 2016): 84-97.
Henry, Clayton R., Jr. "Crime Films and Social Criticism." Films in Review 2.5 (1951): 31-34. [On The Maltese Falcon (1941), Murder, My Sweet (1944), The Mask of Dimitrios (1944), The Third Man (1949), and The Asphalt Jungle (1950).]
Herman, Alexander. "The Fake Chagall, The Asphalt Jungle and Moral Rights in France." Art Antiquity and Law 19.2 (July 2014): 183-186. [On the French Intellectual Property Code and cases involving a Chagall forgery and John Huston's 1950 film.]
Hickman, Roger. "Wavering Sonorities and the Nascent Film Noir Musical Style." The Journal of Film Music 2.2/4 (Winter 2009): 165-174. [Musical analysis of scoring techniques commonly used in the early 1940s for noir films, proto-noir films, and films on the margins of noir.]
Hill, Rodney F. "Remembrance, Communication, and Kiss Me Deadly." Literature Film Quarterly 23.2 (1995): 146-150.
Hillis, Ken. "Film Noir and the American Dream: The Dark Side of Enlightenment." Velvet Light Trap 55 (Spring 2005): 3-18.
--. "Los Angeles as Moving Picture." Aether: The Journal of Media Geography 6 (October 2010): 1-9. [How several films have memorialized Los Angeles including Double Indemnity (1944), He Walked By Night (1948), In a Lonely Place (1950), and Kiss Me Deadly (1955).]
Hirsch, Joshua. "Film Gris Reconsidered." Journal of Popular Film and Television 34.2 (Summer 2006): 82-93.
Holbrook, Morris B. "Ambi-Diegetic Music in Films as a Product Design and Placement Strategy: The Sweet Smell of Success." Marketing Theory 4.3 (2004): 171-185.
Hollinger, Karen. "Listening to the Female Voice in the Woman's Film." Film Criticism 16.3 (Spring 1992): 34-52. [On the use of female first person voice-over narration in Mildred Pierce (1945), The Snake Pit (1948), Secret Beyond the Door (1948), and A Letter to Three Wives (1949).]
Hollins, Brian. "The Role of Location in Film Noir Movies." Interdisciplinary Humanities 33.1 (Spring 2016): 48-62.
Hollyfield, Jerod Ra'Del. "Driving Deadhead off the Big Road: Pre-Interstate Representations of the American Trucker in Raoul Walsh's They Drive by Night and Jules Dassin's Thieves' Highway." Film International 8.3 (July 2010): 21-35.
Holmes, Nathan. "Pleasures of The Big Sleep." CineAction 66 (2005): 24-28.
Holt, Jennifer. "Hollywood and Politics Caught in the Cold War Crossfire (1947)." Film & History: An Interdisciplinary Journal of Film and Television Studies 31.1 (May 2001): 6-12.
House, Rebecca R. "Night of the Soul: American Film Noir." Studies in Popular Culture 9.1 (1986): 61-83. [Explores film noir as a movement in the 1940s and 1950s and utilizes contemporaneous criticism.]
Houseman, John. "Today's Hero: A Review." Hollywood Quarterly 2.2 (January 1947): 161-163. [Contemporaneous criticism of the post-war cycle of dark and fatalistic films with particular attention paid to The Big Sleep (1946).]
--. "Violence, 1947: Three Specimens." Hollywood Quarterly 3.1 (Autumn 1947): 63-65. [On Brute Force (1947), Body and Soul (1947), and Crossfire (1947).]
--. "What Makes American Movies Tough?" Vogue 109.2 (January 15, 1947): 88, 120, 125. [Cites Siegfried Kracauer and his own "Today's Hero: A Review" to critique the post-war cycle of hard-boiled films.]
Hoyt, Eric. "Writer in the Hole: Desny v. Wilder, Copyright Law, and the Battle over Ideas." Cinema Journal 50.2 (Winter 2011): 21-40. [On the legal battle over Ace in the Hole (1951).]
Humbert, David. "Hitchcock and the Scapegoat: Violence and Victimization in The Wrong Man." Journal of Religion & Film 16.2 (October 2012): 1-30.
--. "Re-Visiting the Double: A Girardian Reading of Alfred Hitchcock's Rope and Strangers on a Train." Contagion: Journal of Violence, Mimesis, and Culture 20.1 (2013): 253-261.
Humphries, Reynold. "When Crime Does Pay: Abraham Polonsky's Force of Evil (1948)." Q/W/E/R/T/Y (Pau, France) 11 (2001): 205-210.
Hunter, Jefferson. "Poem Noir Becomes Prizefight Film." The Hudson Review 61.2 (Summer 2008): 269-289. [On The Set-Up (1949) and its source material.]
Hutson, John. R, et al. "What is the Role of the Film Viewer? The Effects of Narrative Comprehension and Viewing Task on Gaze Control in Film." Cognitive Research: Principles and Implications 2 (2017): 1-30. [The results of two experiments testing the relationship between eye movements and comprehension in viewers of the opening scene of Touch of Evil (1958).]
Ilie-Prica, Monica. "Film Noir and Femme Fatale: A Contemporary Perspective." Cinematografic Art & Documentation: Journal of Cinematographic Studies 9, New Series (2014): 18-23.
Isenberg, Noah. "Perennial Detour: The Cinema of Edgar G. Ulmer and the Experience of Exile." Cinema Journal 43.2 (Winter 2004): 3-25. [The director's exilic life and career with emphasis on The Black Cat (1934) and Detour (1945).]
Jacobowitz, Florence. "The Man's Melodrama: Woman in the Window and Scarlet Street." Cine Action 13/14 (1988): 64-73.
Jacobs, Steven, and Lisa Colpaert. "Framing Death and Desire: Painted Portraits in Film Noir." CineAction 91 (2013): 27-33.
James, Nick. "The Big Stealer." Sight and Sound 15.8 (August 2005): 36-41. [On Robert Mitchum's persona in noir films.]
Jameson, Peter. "Machines for Acting: Soviet Constructivist Theatre and the Use of Vertical Space in the Films of Joseph Losey." CineAction 90 (2013): 24-31. [Theatrical practices and concepts in The Prowler (1951), M (1951), The Criminal (1960), and The Damned (1963).]
Jancovich, Mark. "Bluebeard's Wives: Horror, Quality and the Gothic (or Paranoid) Woman's Film in the 1940s." The Irish Journal of Gothic and Horror Studies 12 (Summer 2013): 20-43.
--. "Crack-Up: Psychological Realism, Generic Transformation and the Demise of the Paranoid Woman's Film." The Irish Journal of Gothic and Horror Studies 3 (November 2007): 3-15.
--. "Female Monsters: Horror, the 'Femme Fatale' and World War II." European Journal of American Culture 27.2 (2008): 133-149.
--. "'Frighteningly Real': Realism, Social Criticism and the Psychological Killer in the Critical Reception of the Late 1940s Horror-Thriller." European Journal of American Culture 31.1 (2012): 25-39.
--. '"Master of Concentrated Suspense': Horror, Gender and Fantasy in the Critical Reception of Fritz Lang during the 1940s." Studies in European Cinema 5.3 (2008): 171-183.
--. "Phantom Ladies: The War Worker, the Slacker and the 'Femme Fatale.'" New Review of Film and Television Studies 8.2 (June 2010): 164-178.
--. "'Thrills and Chills': Horror, the Woman's Film, and the Origins of Film Noir." New Review of Film and Television Studies 7.2 (June 2009): 157-171.
--. "'Vicious Womanhood': Genre, the Femme Fatale and Postwar America." Canadian Journal of Film Studies 20.1 (Spring 2011): 100-114.
Jeffrey, William D. "Double Indemnity: Creation and Destruction of a Femme Fatale." Psychoanalytic Review 84 (1997): 701-715. [Psychoanalytic reexamination of the Walter Neff and Phyllis Dietrichson characters in Double Indemnity (1944).]
Jelaca, Dijana. "Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity." Umjetnost rijeci 59.3/4 (2015): 309-332.
Jensen, Paul. "Raymond Chandler: The World You Live In." Film Comment 10.6 (November 1974): 18-26.
Johnson, William. "John Garfield: Still Running." Film Comment 33.1 (January-February 1997): 28-37. (On the actor's brief career as culminated in He Ran All the Way (1951).]
Jurca, Catherine. "Mildred Pierce, Warner Bros., and the Corporate Family." Representations 77 (Winter 2002): 30-51.
Kaplan, E. Ann. "Ideology and Cinematic Practice in Lang's Scarlet Street and Renoir's La Chienne." Wide Angle 5.3 (1983): 32-43.
--. "Patterns of Violence toward Women in Fritz Lang's While the City Sleeps." Wide Angle 3.4 (1980): 55-59.
Keating, Patrick. "Film Noir and the Culture of Electric Light." Film History 27.1 (March 2015): 58-84.
Keenan, Richard. "The Set-Up/Champion Controversy: Fight Films Go to Court." American Classic Screen 2.6 (July-August 1978): 40-42.
Kelly, David. "Dashiell Hammett, the Mystery Novel and the Birth of Film Noir." Sydney Studies in English 34 (2008): 109-140.
Kemp, Philip. "From the Nightmare Factory: HUAC and the Politics of Noir." Sight and Sound 55.4 (Autumn 1986): 266-270.
Kennedy, Douglas. "How Film Noir Explains Trump." New Statesman (3 November 2017): 42-45. [On the dystopian reality of Trump era America as foreshadowed in The Big Heat (1953), Kiss Me Deadly (1955), Sweet Smell of Success (1957), Touch of Evil (1958), and Seconds (1966).]
Kerr, Paul. "My Name Is Joseph H Lewis." Screen 24.4/5 (July 1983): 48-66. [On the director's B film noir output from 1945 to 1955 and whether he has a place in the auteur pantheon.]
--. "Out of What Past? Notes on the B Film Noir." Screen Education 32/33 (Autumn 1979-Winter 1980): 45-65.
Kim, Soyeon. "Nostalgia of the Talkies: A Reflection of Hollywood's Crisis in Sunset Boulevard (1950)." [phrase omitted] (The New Studies of English Language and Literature, South Korea) 70 (2018): 269-286.
Kirshner, Jonathan. "The Stranger." Cineaste 43.1 (Winter 2017): 63-65.
Kievan, Andrew. "The Purpose of Plot and the Place of Joan Bennett in Fritz Lang's The Woman in the Window." CineAction 62 (2003): 14-21.
Kleyn, Robert. "Kiss Me Deadly." Framework: The Journal of Cinema and Media 54.1 (Spring 2013): 114-119.
Koehler, Robert. "Riot in Cell Block 11." Cineaste 39.3 (Summer 2014): 60-62.
Koepnick, Lutz. "Doubling the Double: Robert Siodmak in Hollywood." New German Critique: An Interdisciplinary Journal of German Studies 89 (Spring-Summer 2003): 81-104. [The Weimar Doppelganger in Cobra Woman (1943) and The Dark Mirror (1946).]
Kolker, Robert Phillip. "'Your Brains Don't Show a Bit': Double Readings of The Accused." Film Criticism 9.2 (Winter 1984): 28-40.
Kornhaber, Donna. "Hitchcock's Diegetic Imagination: Thornton Wilder, Shadow of a Doubt, and Hitchcock's Mise-en-Scene." Clues: A Journal of Detection 31.1 (Spring 2013): 67-78.
Kozloff, Sarah. "Humanizing 'The Voice of God': Narration in The Naked City." Cinema Journal 23.4 (Summer 1984): 41-53.
Kracauer, Siegfried. "Hollywood's Terror Films: Do They Reflect an American State of Mind?" Commentary 2 (August 1946): 132-136.
Krueger, Eric M. "Touch of Evil: Style Expressing Content." Cinema Journal 12.1 (Autumn 1972): 57-63.
Krutnik, Frank. "Desire, Transgression and James M Cain: Frank Krutnik Follows Fiction into Film Noir." Screen 23.1 (May 1982): 31-44.
--. "Heroic Fatality and Visual Delirium: Raw Deal and the Film Noir." Framework: The Journal of Cinema and Media 15-17 (Summer 1981): 21-24,108-110.
Kuhn, Annette. "The Big Sleep: A Disturbance in the Sphere of Sexuality." Wide Angle 4.3 (1980): 4-11.
Kurman, George. "Scarlet Street: A 'Remake' with a Key." Literature Film Quarterly 18.2 (1990): 111-115.
Kutner, C. Jerry. "Robert Wise Part One: The Noir Years." Bright Lights Film Journal 10 (July 1993): 24-30. [An extended interview with the director on a dozen films he directed in the 1940s and 1950s, including Born to Kill (1947), The Set-Up (1949), The Day the Earth Stood Still (1951), Captive City (1952), and Odds Against Tomorrow (1959).]
Laamanen, Carl. "Preaching in the Darkness: The Night of the Hunter's Subversion of Patriarchal Christianity and Classical Cinema." Journal of Religion & Film 18.1 (March 2014): 1-32.
Lafferty, William. "A Reappraisal of the Semi-Documentary in Hollywood, 1945-1948." Velvet Light Trap 20 (Summer 1983): 22-26.
Lang, Robert. "Looking for the 'Great Whatzit': Kiss Me Deadly and Film Noir." Cinema Journal 27.3 (Spring 1988): 32-44. [See also "Laurence Miller on Robert Lang's Interpretation of Kiss Me Deadly." Cinema Journal, Spring 1988]
--. "Lucia Harper's Crime: Family Melodrama and Film Noir in The Reckless Moment." Literature Film Quarterly 17.4 (1989): 261-267.
Langdon-Teclaw, Jennifer. "Negotiating the Studio System: Adrian Scott and the Politics of Anti-Fascism in Cornered." Film Studies 7 (Winter 2005): 16-31.
Lapointe, Julien. '"50 Different Ways': Murder and Narration in La chienne and Scarlet Street." Synoptique 2.1 (Winter 2013): 1-25.
Lawrence, Amy. "Constructing a Priest, Silencing a Saint: The PCA and I Confess (1953)." Film History 19.1 (2007): 58-72.
--. "Sorry, Wrong Number: The Organizing Ear." Film Quarterly 40.2 (Winter 1986-1987): 20-27.
--. "Trapped in a Tomb of Their Own Making: Max Ophuls's The Reckless Moment and Douglas Sirk's There's Always Tomorrow." Film Criticism 23.2/3 (Winter-Spring 1999): 150-166.
Leab, Daniel J. "How Red was my Valley: Hollywood, the Cold War Film, and I Married a Communist." Journal of Contemporary History 19.1 (January 1984): 59-88.
Leff, Leonard. "Becoming Clifton Webb: A Queer Star in Mid-Century Hollywood." Cinema Journal 47.3 (Spring 2008): 3-28. [On Webb's "queerness" on screen and in audience perception in Laura (1944), The Dark Corner (1946), The Razor's Edge (1946), and Sitting Pretty (1948).]
--. "Ingrid in the Lion's Den: Cutting Notorious." Film Comment 35.2 (March-April 1999): 26-29.
Leff, Leonard and Jerold L. Simmons. "Film into Story: The Narrative Scheme of Crossfire." Literature Film Quarterly 12.3 (1984): 171-179.
Leibman, Nina C. "The Family Spree of Film Noir." Journal of Popular Film and Television 16.4 (Winter 1989): 168-184. [On the presence and importance of the nuclear family in film noir.]
--. "Piercing the Truth: Mildred and Patriarchy." Literature in Performance 8.1 (November 1988): 39-52. [A comparative analysis of Mildred Pierce (1945) and its source novel.]
Leitch, Thomas. "Noir at Play." Studia Filmoznawcze (Wroclaw, Poland) 31 (2010): 83-94. [On playfulness in film noir dialogue, narrative structure, and visual style.]
Lent, Tina Olsin. "The Dark Side of the Dream: The Image of Los Angeles in Film Noir." Southern California Quarterly 69.4 (December 1987): 329-348.
Lenz, Kimberly. "Put the Blame on Gilda: Dyke Noir Vs. Film Noir." Theatre Studies 40 (1995): 17-26. [Feminist examination of the title character in Gilda (1946) to suggest dramaturgical strategies for lesbian theatrical performance.]
Leonard, Garry. "Did Film Noir Really Happen, or Was It a Set-up?" Film International 12.1 (March 2014): 6-11. [On the film noir as genre debate.]
Letort, Delphine. "First Glances at Mildred Pierce: Adapting Hardboiled Melodrama." Screen 56.2 (Summer 2015): 262-268.
Lev, Peter. "The Big Sleep: Production History and Authorship." The Canadian Review of American Studies 19.1 (March 1988): 1-21.
Librach, Ronald S. "Adaptation and Ontology: The Impulse towards Closure in Howard Hawks's Version of The Big Sleep." Literature Film Quarterly 19.3 (1991): 164-175.
Lindop, Samatha. "Female Subjectivity, Sexuality, and the Femme Fatale in Born to Kill." Quarterly Review of Film and Video 33.4 (2016): 322-331.
Lipkin, Steven N. "Real Emotional Logic: Persuasive Strategies in Docudrama." Cinema Journal 38.4 (Summer 1999): 68-85. [Special emphasis given to the Henry Hathaway "Trilogy" of House on 92nd Street (1945), 13 Rue Madeleine (1947), and Call Northside 777 (1948).]
Lippe, Richard. "At the Margins of Film Noir: Preminger's Angel Face." CineAction 13/14 (1988): 46-55.
--. "Party Girl: Ray and Hollywood." CineAction 67 (2005): 7-8.
Lloyd, Justine, and Lesley Johnson. "The Three Faces of Eve: The Post-war Housewife, Melodrama, and Home." Feminist Media Studies 3.1 (2003): 7-25. [Compares Mildred Pierce (1945) and The Three Faces of Eve (1957).]
Logan, Elliott. "Depths of Black in The Night of the Hunter." New Review of Film and Television Studies 15.1 (2017): 95-107.
Lott, Eric. "The Whiteness of Film Noir." American Literary History 9.3 (1997): 542-566. [On racial codes in film noir.]
Loyo, Hilaria. "Star and National Myths in Cold War Allegories: Marlene Dietrich's Star Persona and the Western in Fritz Lang's Rancho Notorious (1952)." European Journal of American Studies 5.4 (2010): 1-16.
--. "Subversive Pleasures in Billy Wilder's Double Indemnity." Atlantis (Asociacion Espanola de Estudios Anglo-Norteamericanos) 15.1/2 (1993): 169-190.
Loza, Susana. "Orientalism and Film Noir: (Un)Mapping Textual Territories and (En)Countering the Narratives." The Southern Quarterly 39.4 (2001): 161-174. [The disparate discourses of noir and Orientalism in collision to discover narrative in The Letter (1940), The Maltese Falcon (1941), The Big Sleep (1946), The Lady from Shanghai (1948), and Chinatown (1974).]
Luft, Herbert G. "A Matter of Decadence." The Quarterly of Film Radio and Television 7.1 (Autumn 1952): 58-66. [Harsh criticism of Billy Wilder and his films Sunset Boulevard (1950) and Ace in the Hole (1951); see also Charles Brackett's response "A Matter of Humor" from the same issue.]
Luhr, William. "Border Crossings in Out of the Past and L.A. Confidential." Bilingual Review/La Revista Bilingue 23.3 (1998): 230-236.
--. "Pre-, Prime-, and Post-Film Noir: Raymond Chandler's Farewell My Lovely and Three Different Film Styles." Michigan Academician 15.1 (1982): 125-131. [How film styles affected three adaptations of Chandler's novel for The Falcon Takes Over (1942), Murder, My Sweet (1944), and Farewell My Lovely (1975).]
Lyons, Donald. "Family Values." Film Comment 31.1 (January 1995): 78-81. [On Max Ophuls' The Reckless Moment (1949).]
Madden, David. "James M. Cain and the Movies of the Thirties and Forties." Film Heritage 2.4 (Summer 1967): 9-25.
Majkut, Paul. The Concept of the Dog Doesn't Bark: Notes on a Materialist Phenomenology and Film Noir." Glimpse 1.1 (1999): 60-73. [Philosophical approach to the film noir as genre debate.]
Maland, Charles J. "Film Gris: Crime, Critique and Cold War Culture in 1951." Film Criticism 26.3 (Spring 2002): 1-30.
Mallon, Christopher. "Double Indemnity: Film Noir and the Dark Side of Masculinity." Screen Education 79 (Spring 2015): 124-128.
Maltby, Richard. "Film Noir: The Politics of the Maladjusted Text." Journal of American Studies 18.1 (April 1984): 49-71. [An effort at cultural history as opposed to textual analysis of film noir from the post-war period.]
Mamber, Stephen. "Simultaneity and Overlap in Stanley Kubrick's The Killing." Postmodern Culture 8.2 (January 1998): 32-39.
Mangravite, Andrew. "Republican Noir." Film Comment 30.1 (January 1994): 78-81. [On director Robert Montgomery's conservative stamp on Ride the Pink Horse (1947).]
Manon, Hugh S. "Henry Hathaway's Rawhide and the Hermetic Frontiers of Film Noir." Film & History: An Interdisciplinary Journal of Film and Television Studies 33.2 (2003): 36-47.
--. "Some Like It Cold: Fetishism in Billy Wilder's Double Indemnity." Cinema Journal 44.4 (Summer 2005): 18-43.
--. "X-Ray Visions: Radiography, Chiaroscuro, and the Fantasy of Unsuspicion in Film Noir." Film Criticism 32.2 (Winter 2007): 2-27.
Marcus, Alan. "The Interracial Romance as Primal Drama: Touch of Evil and Diamond Head." Film Studies 11 (Winter 2007): 14-26.
Marks, Mikolaj, and Marek Mosakowski. "Out of the Past (1947): The Question of Truth in Jacques Tourneur's Noir Movie." Cywilizacja i Polityka/Civilization and Politics (Poland) 17.17 (2019): 64-75.
Marling, William. "On the Relation Between American Roman Noir and Film Noir." Literature Film Quarterly 21.3 (1993): 178-193.
Martin, Rebecca. "French Poetic Realism and American Noir: 'It's always too late.'" Linguae &: Rivista di lingue e culture moderne 16.2 (2017): 13-27.
Maxfield, James F. "La Belle Dame Sans Merci and the Neurotic Knight: Characterization in The Maltese Falcon." Literature Film Quarterly 17.4 (1989): 253-260.
--. "Love in the Dark: Howard Hawks's Film Version of The Big Sleep." Clues: A Journal of Detection 14 (1993): 11-20.
--. "Out of the Past: The Private Eye as Tragic Hero." New Orleans Review 19.3/4 (Fall-Winter 1992): 69-75.
Mayersberg, Paul. "From Laura to Angel Face." Movie 2 (September 1962): 14-16. [On Otto Preminger's treatment of female characters in Laura (1944), Fallen Angel (1945), Daisy Kenyon (1947), Whirlpool (1950), Where the Sidewalk Ends (1950), and Angel Face (1952).]
McArthur, Colin. "Crossfire and the Anglo-American Critical Tradition." Film Form 1.2 (1977): 23-33.
McBride, Joseph, and Michael Wilmington. "The Private Life of Billy Wilder." Film Quarterly 23.4 (Summer 1970): 2-9. [Elements of the filmmaker's personality as seen in Ace in the Hole (1951) and Some Like It Hot (1959).]
McConnell, Frank. "Pickup on South Street and the Metamorphosis of the Thriller." Film Heritage 8.3 (Spring 1973): 9-18.
McFarlane, Brian. "Smoking Guns and Smouldering Lips: The Big Sleep." Australian Screen Education 39 (2005): 139-143.
McGivern, William P. "Flashback: Roman Holiday." American Film 9.1 (October 1983): 14, 19. [Recollections of a conversation with Fritz Lang on The Big Heat (1953) by the author of its source novel.]
McGuire, John Thomas. "Exploring the Urban Milieu: Billy Wilder, Four Films, and Two Cities in the United States, 1944-1960." Quarterly Review of Film and Video 30.5 (2013): 435-448. [Double Indemnity (1944), The Lost Weekend (1945), Sunset Boulevard (1950), and The Apartment (1960).]
McLean, Adrienne L. "'It's Only That I Do What I Love and Love What I Do': Film Noir and the Musical Woman." Cinema Journal 33.1 (Fall 1993): 3-16.
McNair, Brian. "Villains of the Piece." Journalism Practice 5.6 (2011): 735-737. [Journalists as villains in film noir with emphasis on Ace in the Hole (1951).]
McVittie, Fred. "Everyone's a Winner: An Account of the Use of Transactional Analysis to Explore the Text The Postman Always Rings Twice." Studies in Theatre Production 17.1 (1998): 38-49.
Meeuf, Russell. "Nuclear Epistemology: Apocalypticism, Knowledge, and the 'Nuclear Uncanny' in Kiss Me Deadly." LIT: Literature Interpretation Theory 23.3 (July-September 2012): 283-304.
Mercure, Michelle. "The 'Bad Girl' Turned Feminist: The Femme Fatale and the Performance of Theory." Undergraduate Review 6 (2010): 113-119. [Feminist perspective on the archetype of the femme fatale in This Gun for Hire (1942) and Gilda (1946).]
Metz, Walter. "'Keep the Coffee Hot, Hugo': Nuclear Trauma in Lang's The Big Heat." Film Criticism 21.3 (Spring 1997): 43-65.
--. "A Very Notorious Ranch, Indeed: Fritz Lang, Allegory, and the Holocaust." Journal of Contemporary Thought 13 (2001): 71-86.
--. "'Who am I in This Story?': On the Film Adaptations of Max Ophuls." Literature Film Quarterly 34.4 (2006): 285-293. [Caught (1949), The Reckless Moment (1949), and La Ronde (1950).]
Miklitsch, Robert. "Fear of a Red Planet: I Was a Communist for the F.B.I. and 'Black Film.'" Journal of Popular Film and Television 41.1 (January 2013): 43-54.
--. "The Red and the Black: Gender, Genre, and the Romance of (Anticommunism in The Woman on Pier 13." Camera Obscura 29.3 (September 2014): 116-147.
Miller, Laurence. "The Contribution of Scientific Psychology to Artistic Representations (Film Noir) of Behavior and Personality." Journal of Social Behavior and Personality 4.1 (1989): 17-33.
--. "How Many Films Noirs Are There? How Statistics Can Help Answer this Question." Empirical Studies of the Arts 7.1 (1989): 51-55.
--. "Laurence Miller on Robert Lang's Interpretation of Kiss Me Deadly (Cinema Journal, Spring 1988)." Cinema Journal 28.3 (Spring 1989): 69-72. [Criticism of Lang's "Looking for the 'Great Whatzit': Kiss Me Deadly and Film Noir" with Lang's reply.]
Mills, Moylan C. "Charles Laughton's Adaptation of The Night of the Hunter." Literature Film Quarterly 16.1 (1988): 49-57.
Mnookin, Jennifer L., and Nancy West. "Theaters of Proof: Visual Evidence and the Law in Call Northside 777." Yale Journal of Law & the Humanities 13.2 (2001): 329-390.
Modleski, Tania. "Film Theory's Detour: Tania Modleski Explores Male Hostility in Edgar Ulmer's 'B' Movie." Screen 23.5 (November 1982): 72-79.
Moldovan, Raluca. "From Caligari to The Big Heat and Beyond: European Influences on Classical American Film Noir." Transylvanian Review 22, Supplement 3 (2013): 58-70. [Includes analyses of Double Indemnity (1944), The Killers (1946), and The Big Heat (1953).]
--. "A Romanian Jew in Hollywood: Edward G. Robinson." American, British and Canadian Studies 22.1 (2014): 43-62. [With particular emphasis on his roles in Little Caesar (1931), Double Indemnity (1944), The Woman in the Window (1944), and Scarlet Street (1945).]
Monaco, James. "Notes on The Big Sleep, Thirty Years After." Sight and Sound 44.1 (Winter 1974-1975): 34-38.
Mondelo Gonzalez, Edisa, and Pablo Sanchez Lopez. "Laura (Otto Preminger, 1944): Film Noir and the Fascinated Gaze." L'Atalante: Revista de Estudios Cinematograficos (Valencia, Spain) 27 (2019): 75-90.
Monticone, Paul. The Noir Western: Genre Theory and the Problem of the Anomalous Hybrid." Quarterly Review of Film and Video 31.4 (2014): 336-349.
Mooney, William. "Sex, Booze, and the Code: Four Versions of The Maltese Falcon." Literature Film Quarterly 39.1 (2011): 54-70. [On The Maltese Falcon (both 1931 and 1941), Satan Met a Lady (1936), and Dashiell Hammett's source novel.]
Morgan, Janice. "Scarlet Streets: Noir Realism from Berlin to Paris to Hollywood." IRIS (Paris, France) 21 (Spring 1996): 31-53.
Morris, Christopher D. "Derridean Blackmail in The Big Sleep: Allegorizing the Unfixable Mirages of Photography, Film and Criticism." Film-Philosophy 19 (2015): 304-324.
Morris, George. "Old Hollywood: On Dangerous Ground." Film Comment 11.2 (March-April 1975): 22-23.
Morrison, James. "Cultural Hierarchy in Scarlet Street." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 52.1 (Spring 1996): 125-161.
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Morrison, Susan. "The (Ideo)logical Consequences of Gender on Genre." CineAction 13/14 (1988): 40-45. [Derridean analysis of Out of the Past (1946) and Duel in the Sun (1946).]
Moustakas, Jane. "'Down these Mean Streets a Man Must Go ... ': Film Noir, Masculinity, and The Big Sleep." Australian Screen Education 35 (Winter 2004): 105-108.
Mowitt, John. "Avuncular Listening: The Unsuspected." Recherches semiotiques / Semiotic Inquiry 29.2/3 (2009): 81-97.
Munby, Jonathan. "The 'Un-American' Film Art: Robert Siodmak and the Political Significance of Film Noir's German Connection." IRIS (Paris, France) 21 (Spring 1996): 74-88.
Murlanch, Isabel Fraile. "'What's in a Name?' Construction of Female Images in Film Noir: The Case of Fritz Lang's The Blue Gardenia." Atlantis (Asociacion Espanola de Estudios Anglo-Norteamericanos) 18.1/2 (1996): 105-115.
Murphet, Julian. "Film Noir and the Racial Unconscious." Screen 39.1 (Spring 1998): 22-35.
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